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I-ESS0N5 



Greatest Work gT 
Sir Francis Bacon 



Baron of Verulam 
Viscount St. Alban 



cppvwaHT . 



Riverbank Laboratories 
Geneva, Illinois 



fftml 






•SEP 19 1916 



S)C(,A']37775 

*'W0 V - 



In Homage to the Memory of 

Isabella Francis Fabyan 

Her Boy 

dedicates this work which he considers his best 

to Mother 



? Proof 



By QBOROe FABVAN 



of % 

laronian ©t|il|fra 




States sute IS. 

AND APPLICATION TO BOOKS OF THE 
SIXTEENTH AND SEVENTEENTH CENTURIES 



(Enmptbii bg C^rnrgp iifabgan 



COPYRIGHT 1916 

BY 
GEORGE FABYAN 



9 Proof 



St? i^ i^^^ 



Foreword 



In certain volumes published in the 16th and 17th centuries, the use and com- 
mixture, without any apparent reason, of two forms of type, both in the roman and 
the italic letters, has long been a matter of comment and discussion among lovers of 
books and book lore, and although various theories have been advanced by researchers 
and students of Elizabethan literature, none of them have seemed to answer the 
question. 

Twenty years ago, Elizabeth Wells Gallup, an instructor in English, was reading 
an original of Sir Francis Bacon's De Augmentis Scientiarum and the chapter on Ciphers 
appealed strongly to her reason. Of the books of the Elizabethan period, none are 
of greater importance than the 1623 Shakespeare Folio, which contains a vast number 
of examples of the use of two forms of type. She asked herself whether there might 
not be concealed within this work a cipher such as Bacon described. 

Bacon explains in the above mentioned chapter how a secret or interior note may 
be infolded within an apparently simple open or exterior message by the use of two 
forms of type very similar in appearance but still showing to the closely observant 
or experienced eye distinct characteristics, by means of which these two forms may 
be distinguished. Bacon calls attention to the mathematical fact that the trans- 
position of only two different objects (blocks, letters, etc.) will yield thirty-two dis- 
similar combinations, of which only twenty-four would be necessary to represent all 
the letters of our alphabet (I and J, U and V, being used interchangeably in the 16th 
century). By referring to the code given by Bacon it will readily be seen that a row 
of fifteen blocks in which the 1st, 4th, 8th, 9th, 10th, and 13th were black, the rest 
white, would spell out the word "the". If black and white blocks are replaced by 
capital and small letters respectively, the name 

BillterAL CipHer 

still contains the hidden word "the". But now suppose the differences between the 
two forms (called for convenience the a and the b forms) are not so apparent as in the 
above examples; suppose that in this name "Bi-literal Cipher," letters of two only 
very slightly different, but still distinguishable, forms were used, it is clear that the 
word "the" could still be infolded within it. Hence by the appropriate use of type 
of two forms, a sentence, a paragraph, a page or an entire book, might be made to 
infold a hidden message of an import wholly different from the apparent language of 
the printed page. Nor is this reading between the lines, but it is discovering in the 
lines something not apparent at a cursory glance. Neither is it necessary in order 
to achieve this that the original language of the printed page be framed, altered, or 
modified for the purpose in any manner whatsoever. It is only necessary that after 
the obvious or open language of the manuscript is written, some distinguishing mark 
should be placed, for the direction of the printer, under each letter which is to be set 
up from the b form. All the other letters would naturally be set up from the a form. 

PProrf 



To decipher such material then, it would be necessary first to be able to recognize the 
a and the b forms in the type used, and secondly, to know the code which had been 
employed. 

Having mastered the examples given by Lord Bacon in both the editions of De 
Augmeniis Scientiarum or "The Advancement of Learning," Mrs. Gallup determined 
to apply the principles of Bacon's Bi-literal Cipher to the 1623 Shakespeare Folio. 
Opening the Folio at random she turned the leaves to select the page of the most 
characteristic italic type she could find, and chose the page containing the Prologue 
to "Troilus and Cressida", in which even a casual inspection will disclose the presence 
of two forms of type for certain letters. (Note such outstanding examples as the 
capital Ps, the capital N's, the capital Vs, and the small w's.) Having noticed the 
undoubted presence of two forms of type, Mrs. Gallup's first step in endeavoring to 
determine whether this page does or does not contain the Bi-literal Cipher, was to 
study the differences between these two forms; her next step was to decide which was 
to be termed the a form and which the h form. The fact that in Bacon's code the 
a's predominate greatly over the Fs, suggested to Mrs. Gallup that the a form might 
probably be that occurring most frequently on the printed page, if the code given by 
Bacon had actually been used. Examining each letter under a magnifying glass, she 
tentatively assigned each one as an « or a ^ form, marking it accordingly. Having 
completed the marking in this manner, she applied Bacon's own code but without any 
intelligible result. She noticed, however, near the botlom of the page, that the 
groups of a and b resulted in giving by application of the Code a collection of letters 
as follows: 

ELIZXBEXH 

(X: — Mrs. Gallup does not remember the two letters where X is used in the above 
word.) 

She realized that this combination of letters was probably intended to spell out 
the word "Elizabeth." She changed carefully the markings of the groups which 
formed the letters here designated by X, making, as she did so, sketches of the char- 
acteristics and differences of the letters she so changed in producing the word "Eliza- 
beth." Then with this additional information, Mrs. Gallup carefully marked each 
letter of the Prologue anew — to find to her own amazement, when she had finished, 
the astounding message which the student will himself have the pleasure of deciphering 
in a succeeding lesson. After the Prologue, she studied and deciphered other passages 
concealed in the apparently meaningless type forms. Later she applied the methods 
to a number of 16th and 17th century works, with negative results in certain cases, 
but positive results in others. 

Such, then, is the history of the discovery of the use of a cryptic or secret writing 
in certain of the aforementioned volumes, which for three hundred years escaped 
detection — The Bi-literal Cipher of Sir Francis Bacon. 

The advantages to be gained from the study of the Bi-literal Cipher are many 
and various: — it calls into play both literary knowledge and technical and mechanic- 
al skill: it trains the eye to close observance; it trains the hands in printing, which is 

P Proof 



now almost a lost art; it requires and teaches not only accuracy, but the absolute 
necessity for accuracy, which is very desirable In any walk of life — in a word, the 
study of the Cipher may, when pursued earnestly and accurately, achieve that most- 
to-be-desired end of all education, a thoroughly trained mind. As for its historic 
value, that is inestimable, as the search after Truth is the greatest of all pursuits. 
In addition, its practical values are numerous: it may be utilized in kindergarten 
teaching in blocks, beads, weaving, or colors; in the entertainment and education 
of children, old people, or invalids, it may be an easy and most pleasant factor; and 
in the instruction of the blind, the use of the cipher embossed and placed vertically 
would require the learning of but two differences or characters in place of twenty-six; 
and finally, let it not be forgotten that the Cipher permits of transmission of thought, 
regardless of censorship or the curiosity of others. 

The mastering of the principles of the Bi-llteral Cipher is really a simple matter. 
Young people of fourteen years and upwards, it is found, note readily differences in 
type. One young student in the RIverbank Laboratories marked 940 letters in three 
hours with only eight errors. But the application of these principles to the Eliza- 
bethan volumes which contain the Bi-llteral Cipher Is a more difficult matter; first, 
because In order to escape suspicion and detection at a premature time, and secondly, 
because of the unavoidable variation due to the Imperfect methods of printing in 
use at that time, the two forms of type are not so clearly distinguishable as In the 
examples given by Bacon himself. However, the earnest student will In time over- 
come these obstacles, and by concentrated application learn to decipher even the 
most difficult passages and works. After all possible mechanical assistance has been 
provided, the requisites on the part of the student are only earnest purpose, good 
eyes, and a good mind. 

General Instructions for the Study of the Baconian 

Bi-Hteral Cipher. 

It Is earnestly recommended that the student secure and read a copy of the New 
Atlantis. This will serve to give him some comprehensive Idea of the great brain of 
Sir Francis Bacon. It is, of course, to be desired that the student familiarize him- 
self with all of Bacon's works, but as a beginning we recommend the New Atlantis. 
It Is contained In a pocket edition of Bacon's Works, George Newnes, London, 1902. 

For the study of the ciphers it is necessary that the eye be trained to distinguish 
minute diiferences, which requires time, but it is time well spent. 

The possession and use of a reading glass Is Indispensable for this purpose. 

All of our facsimile photographs may be compared with the original first folio 
at any of our large libraries. 

It is manifest that original editions, good facsimiles, or photographs of originals, 
are required for the working of the Bi-literal Cipher, as the two forms of type do not 
exist in the modern editions. 



INSTRUCTION SHEET | 
LESSON I 



Read carefully Bacon's own description of the Bi-literal Cipher 
found in Plates 1 and 2 - Spedding's translation of "De Augmentis" . 

Then for the lesson proper begin by studying the alphabets at the 

bottom of Plate 3 which show the two forms or "fronts" used - called, for 

convenience, the a form and the b form. 

Note:- The word al phabets in this work will refer to all 
"Alphabets in two forms" (for explanation of this phrase 
see p. 446 Plate 2 and the bottom of Plate 3). "Alphabets 
in two ]etters" (p. 445, Plate l) are called C ipher Codes 
to distinguish them from alphabets in two foi'cis. 

To discover and master the difference between the a form and the b form, 

is the first and most important step in learning to decipher. 

Try to observe and memorize the characteristics of each letter in 

both the a and b form, so that you will not be deceived, by faulty printing 

and badly made fonts, into considering differences which are not distin;^uishing 

differences. In these alphabets you will see at a glance, that the a form 

(modern) is as a rule heavier and broader than the b form (old style)* Close 

study will develop less noticeable, but more vital distinctions, 

EXAMPLE small r 

a form b form 

Heavier in the stem than It is more narrow than in the 

in the b form, a form. 

Left kern is long and Left kern is closer to the 

slender. stem. 

Right kern is heavy, point- Right kern points outward and 

ing downward, joins the stem in a truer curve 

than in the e form. 



PFrorf 



INSTRUCTION SHEET / 
2. , . , . .Lesson I, 

Y/hen you have made clear to yourself the fundamental differences 

between the a form and the b form, take Student Sheet A* and place a mark 

under each letter, to indicate v/hether it belongs to the a^ form or the b form, 

using a horizontal line for the a form, and a vertical line for the b form, 

thus:- 

Donot gotil llcom e 

aabab ababa babba 

Note:- A reading glass is essential to accurate work. 

The conscientious student will find it very good practice to write 
out descriptions of the differences between the two forms of letters. 

For the use of instructors and for the purpose of demonstrating to 
those who desire to make only a casual investigation, we enclose the Gale 
Bi-formed Alphabet-Classifer to be used by placing the slot over each line of 
the work as the form of the letters is to be determined. It is our recommenda- 
tion that, the earnest student do not use this, as it is much better practice to 
train the eye to carry the characteristics of the letters from the alphabets 
to the selection being deciphered, and vice versa. 



please be careful of the photographic plates, and do not mark or 
mar them in any way. When the Student Sheet has been correctly marked, and 
this lesson completed, the plates must be returned to the Riverbank Labora- 
tories, in the addressed envelope provided for the purpose. Then the next 
lesson with its photographic plates will be sent you. If for any reason 
the student cares to retain any of the photographic plates, an additional 
charge of 25^ each will be made, and this amount should be included in that 
sent for the next lesson. r Froof 



returned to ihe 
fihrefbank Laboratories 



LESSON 1 
PLATE No. 



Of the Advancement of Leainiing. 



(London, 1605.) 



CYPHARS 



For Cyphars; they are commonly in Letters 
or Alphabets, but may bee in Wordes. The kindes 
of Cyphars, (befides the Simple C v p i i a r s 
with Changes, and intermixtures of N v lles, and 
Nonsignificant s) are many, according to 
the Nature or Rule of the infoulding : VV ii e e l e ■ 
Cyphars, Ka y-C yphars, Dovbles, 
&c. But the vertues of them, whereby they are 
to be preferred, are three ; that they be not labor- 
ious to write and reade; that they bee impofsible 
to difcypher ; and in fome cafes, that they bee 
without fufpition. The higheft Degree whereof, 
is to write Omnia Per Omnia; which is 
vndoubtedly pofsible, with a proportion Quintuple 
at moft, of the writing infoulding, to the writing 
infoulded, and no other reftrainte whatfoeuer. 
This Arte of Cypheringe, hath for Relatiue, an Art 
of Difcypheringe \ by fuppofition vnprofitable ; but, 
as things are, of great vfe. For fuppofe that 
Cyphars were well mannaged, there bee Multitudes 
of them which exclude the Difcypherer. But in 
regarde of the rawneffe and vnskilfulneffe of the 
handes, through which they paffe, the greateft 
Matters, are many times carryed in the weakeft 
Cvphars. 



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LESSON I 
PLATE No. 3 



LORD BACOIJ'S OM EXAI',!PI£ OF BI-LITERAL CIPHER 
Speddiiig" 3 Editions 1857 



Manere te 



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dance 



Ege omni officio ac potins pietate rrt/<i tc vaeltris sati.'ftuio or:iuli:ii : 
Mihi ipse nunquam sutisfacio. Tanta tst cniin iiiM/tiitmlo tiionin in/n 
me mtritorum, ut qitoniiim tit, iiini perjhta re, ih mc iion cviKjidt'sri ; 
ego, quia non idem in tua causa ffjuio, t'it.im niibi o-.sr arir/::ri /'nt,-:. 
In eausa bac sufU : Amntoniits rcijis lci/,itits aprrtc pc'cit»i.i m> <</'- 
fugnat: res agititr per eosdein cirditom per quoit rit/'i fu .;.:'er.:.< iu/i/hi- 
tur: regis causa si qui sunt qui veli/it, qui pauci sunt, orvus ,;il I'.m- 
feium rem deferri volunt : senatus relttjionis calumnitu'i, /.'on rt/:(j:..:e 
ud malevoUntia, et il/ius regiac Inrgitionii inridia voniprcfxit, Sc. 



Do not go till I 



come. 



In all duty or rather piety toccards you J s^iiisfy every b:;d\ ,i:,/it 
myself. Myself I never satisfy. For so great arc the seriices wlt-.i. b 
you have rendered me, that seeing you did not rest in so:jr t/idrarsnrs 
on my behalf till the thing was done, I feel as if life bad hst all its 
sweetness, because I cannot do as much in this cause of youn. The 
cccasions are these : Ammonius the King's ambassador openly besieges 
MS ivUh money : the business is carried on through the same creditors 
who were employed in it when you were here, S^c. 













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COPVRIGHT 



STUDENT SHEET 

LORD BACON'S OWN EXAMPLE OF 
BI-LITERAL CIPHER 

Spedding's Editions 1857 

Maner etevo lodon ecven ero 

Egoom nioff icioa cpoti uspie tatee rgate caete rissa 
tisfa cioom nibus Mihii psenu nquam satis facio Tanta 
esten immag nitud otuor umerg ameme ritor umutq uonia 
mtuni siper fecta redem enonc onqui estie goqui anoni 
demin tuaca usaef ficio vitam mihie sseac erbam putem 
Incau sahae csunt Ammon iusre gisle gatus apert epecu- 
niano soppu gnatr esagi turpe reosd emcre ditor esper 
quosc umtua deras ageba turre gisca usasi quisu ntqui 
velin tquip aucis untom nesad Pompe iumre mdefe rrivo 
lunts enatu sreli gioni scalu mniam nonre ligio nesed 
malev olent iaeti llius regia elarg ition isinv idiac 
ompro bat&c 

Donot gotil llcom e 



IBSSON I 



PLATE No. 



Inall dutyo rrath erpie tytow ardsy ouJsa tisfy every 
bodye xcept misel fMyse Iflne versa tisfy Forso great, 
areth eserv icesw hichy ouhav erend eredm ethat seein 
gyoud idnot resti nyour endea vours onmyb ehalf tillt 
hethi ngwas donel feela sifli fehad losta Hits sweet 
nessb ecaus elcan notdo asmuc hinth iscau seofy oursT 
heocc asion saret heseA mmoni usthe Kings ambas sador 
openl ybesi egesu swith money thebu sines sisca rried 
onthr ought hesam ecred itors whowe reemp loyed initw 
heny<» uwere here& c f Proof 



INSTRUCTION SHEET 



2 



L E S S N -2- 

The Wats' edition, from which Lesson 2 is taken, dates back to 1640, and 
is not so accurate in printing as the more modern Spedding edition. However, as 
this is Bacon's "ov/n example", we think it is desirable that the student should 
master it. 

This plate (4) contains six wrong font letters, — that is, letters which 
have been transposed, either by accident or design, from a form to b form or from 
_b form to a form. You have already had examples of the wrong font letter in the 
first lesson. 

There are also, in this lesson, a number of hybrid letters. Hybrid letters, 
as the name implies, will be found to contain characteristics of both a form and 
b form letters and must be examined carefully in every case to determine whether 
the. characteristics of the a form or the b form predominate. Take for example, 
the "a" in magnitude (third line);- It has the following characteristics: 

a form b form 

1 — Narrow at the top 1 — The angle of the foot 

2 — Straight in the stem 2 — The curve of the back 

3 — The width of the base 
Therefore, we consider that the letter belongs to the b form, because it has a 
preponderance of the b form characteristics. In rare cases, however, this rule 
does not apply and the hybrid must be determined entirely by the context. On 
this plate, almost all the a's are hybrid, as are many of the i's, m's, n's, and 



u's. 



The reason for this is hard to find. It must not be forgotten that ciphers 

? -Proof 



INSTRUCTION SHEET Z 



Lesson - 2 - p. 2 



are made to hide things, not to make them plain or easy to decipher. They are 
constructed to be misleading, mysterious, and are purposely made difficult except 
to those possessing the key. Seekers after knowledge through them must not 
abandon the hunt upon encountering the first difficulty, improbability, inaccuracy, 
or stumbling block set for their confusion. 

Note:- It will be well to study carefully the alphabets and Classifier, noting 
the outstanding characteristic of one or the other form as a whole. For 
instance, in the Wats' example, the b form letters as a group are characterized 
by possessing long curved kerns; but attention is called to the transposition 
of the capital E's, — probably by design. Note also the dot in the letter 0, 



Please be careful of the photographs and do not mark or mar them in any way. 
When the Student Sheet has been correctly marked and this lesson completed, the 
plate must be returned to the Riverbank Laboratories in the addressed envelope 
provided for the purpose. Then the next lesson v/ith its photographs will be sent 
you. If for any reason the student cares to retain any of the photographs, an 
additional charge of 25^ each will be made, and this amount should be included in 
that sent for the next lesson. 



? Proof 



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THE BI-FORMED ALPHABET CLASSIFIER. 
WATS' EDITION OF BACON'S WORKS, 1640 

COPYRIGMTEO. 1916. GEORGE FABVAfsJ 



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WATS' EDITION OF BACON'S WORKS, 1640 

COPYRIGHTED, 1916. GEORGE FABYAN 



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..ESSON 2 



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USSON d. 
PLATE N(h 4 



LORD BACON'S ORIGBIAL EXAI.2PLE OF HIS BI-LITERAL CIPHER 

Taken from 
Gilbert Wats' Edition "Advancement of Learning" 1640 



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COPYRIGHT 

3' G9CmGt -*&Y, 



- 


STUDENT SHEET 




lESSON 
PLATE No. 


2 
B 


LORD 


BACON'S ORIGINAL EXAMPLE 
BI-LITERAL CIPHER 


OF 


HIS 





"Advancement of Learning" 1640 



Maner etevo lodon ecven ero 



Egoom nioff icioa cpoti uspie tatee rgate caete rissa 
tisfa cioom nibus Mihii psenu nquam satis facio Tanta 
esten immag nitud otuor umerg ameme ritor umvtq uonia 
mtuni siper fecta redem enonc onqui estie goqui anoni 
demin tuaca usaef ficio vitam mihie sseac erbam putem 
Incau sahae csunt Ammon iusRe gisLe gatus apert epecu 
niano soppu gnatR esagi turpe reosd emcre ditor esper 
quosc umtua deras ageba turRe gisca usasi quisu ntqui 
velin tquip aucis untom nesad Pompe iumre mdefe rrivo 
luntS enatu sReli gioni scalu mniam nonre ligio nesed 
maleu olent iaeti Uius Regia eLarg ition isinu idiac 
ompro bat&c 



f Proof 



COfVBIGMT 
KV Q&OnGQ FABVAN 



'NSTffUCT/OW SH££r 3 
LESSON III 



In "The Greatest of Literary Problems," published by Houghton Mifflin, 
1915, James Phinney Bsixter, the author, deseribes a test in deciphering 
whieh he submitted, at the request of a critic, to Mrs, Gallup, Mr. Baxter 
made an alphabet by selecting and photographing typical letters of medium 
sized italics used in the second edition of the Shakespeare Folio, 1632. 

Then, in scnneta XXXII, XXXVI, XiQIVIII, which contain no cipher in the 
original, he infolded a poem of his own by applying carefully Bacon's own 
directions for the use of the Bi-literal Cipher and added a line of prose 
for the signature. Mrs, Gallup returned the sonnets by the next mail, with 
the poem correctly transcribed. In Lesson III, we send you the same task, 

Exoept for the fact that the slant of the letters is not alv^ays perfect, 
you will find the fonts of this alphabet easier to distinguish than in the 
more faulty originals. They do not contain the- variants always to be found 
in old printing. 

The b form small e_ is characterized by a dot which occurs at the point 
where the loop joins the stem. There is also an imperfection on the inside 
of the oval of the small £ at the right. Other regularly- occurring 
characteristic^ of the letters will be noticed by the student in the 
alphabets, which wi'li make the task of deciphering indeed a simple one. 

Included with this lessoR. is sent for the purpose of study a page 
photographed from "The Great Cryptogram" of Ignatius Donnelley, showing 
where Mr, Donnelley failed in the application of the Bi-literal Cipher. 



? Proof 



INSTRUCTION SHEET 3 



Lesson III 



p-2 



That 30 great a mind as his could study Baoon's own exsimples as fully as he 
did- and then fail to grasp the very point Bacon made, seems almost incred- 
ible. But we can only judge from the facts before us, and what he writes 
in regard to it, Donnelley left> as he found it, the real cryptogram 
undisclosed. 

Please be careful of the photographs and do not mark or mar them in any 
way. When the Student Sheet has been correctly marked and this lesson 
completed, the plate must be returned to the Riverbank Laboratories in the 
addressed envelope provided for the purpose. Then the next lesson with its 
photographs will be sent you. If for any reason the student cares to 
retain any of the photographs, an additional charge of 2b<f. es^ch will be 
made, and this amount should be included in that sent for the next lesson. 



y Proof 



Loaned only - to be 

returned to the 

Riverbank Laboratories 



IISSON 3 

PLATE No. 5 



XXXII. 

jf thou surnjtrve mj tvell contented Jay, 
When that churl death ??iy bones Viih dust shall coVer 
^nd shalt hy fortune once more resurfveyi 
"These poor rude lines of thy deceased LoVer: 
Qompare them with the hetteringofthe time, 
^nd thouorh they heoutstrift hye'Verypen, 
T^ser^e them for my loVe, not for their rhyme. 
Exceeded hy the height ofhapbier men. 
Oh then youchsafeme but this loVmg thou^^t, 
Had my friends Muse gro'^n'^lth this ^roiv i ng age, 
A dearerhlrth than thlshls loVe had hrou(7ht 
To march In ranks of hetter equipage: 
'But since he died andToets hetterpro'Ve, 
Theirs for their style 111 readjns for his lo^ce. 

XXXYI. 

Let me confess that ivetwo must he f^aui, 
Althouzh our undivided loyes are one: 
So shall thosehlots that do'^lth jne remain^ 
Without thy help, hy me he home alone. 
Jn our two loyes there Is hut one respect. 
Though inourliVes a separahle spite. 
Which thoucrh It alter not /oVf V sole effect. 
Yet doth it steal sweet hours from lore's delight. 
J may not e'verynore acknoMedge thee. 
Lest my he-called guilt should do thee shame, 
iSlor thou'^lth puhlic klndnefs honour }ne, 
Vnlefs thou take that honour from thy name-. 
But do not so; I lo^e thee in such sort , 
As thou leing mine^ mine is thy good report. 



? Proof 



Loaned only - to be 

returned to the 

Hu-eibank Laboratorlea 



THE GREATEST OF LITERARY PROBLEM^ 
XXXYIIL 

Ho'^ can mjMuse-^ant suhiect to tnnjent, 
Wljilethou dost hreathe, that fours t into my "Verse 
Tb i ne o'i^n s'iveet araum ent, too excellent 
tor eyeryvulgar paper to rehearser 
0, ghe thjself the thanks, if aught in me 
Worthy perusal stand against thy sight ; 
forl\^ho's 50 dumb that cannot %vrtte to thee^ 
When thou thyself dost gi'Ve invention light? 
Se thou the tenth Muse, ten times more in^orth 
Than those old nine'^hich rhymers in<vocate; 
j(nd he that calls on thee, let him bring forth 
Eternal numbers to outline long date, 

Jfmy slight Muse do please these curious days-. 
The pain he mine, hut thine shall be the praise. 

Yet beseems to set the greatest store by his'^ork» 

THE GREATEST OF LITERARY I'RORI.rMS 
A B A B A B AH 

J J- MM ? '} ^» '" 

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LESSON 3 

PLATE No, 6 



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54° 



? Proof 



LESSON 3 

STUDENT SHEET f^^£ ^^^ Q 

SHAKESPEARE SONNETS 
Arranged by James Phinney Baxter 
XXXII 

Jftho usury ivemy wellc onten tedda yWhen thatc hurld eathm 
ybone swith dusts hallc overA ndsha Itbyf ortun eonce morer 
esurv eyThe sepoo rrude lines ofthy decea sedLo verCo mpare 
themw ithth ebett ering ofthe timeA ndtho ughth eybeo utstr 
iptby every penRe serve themf ormyl oveno tfort heirr hymeE 
xceed edbyt hehei ghtof happi ermen Ohthe nvouc hsafe mebut 
thisl oving thoug htHad myiri endsM usegr ownwi ththi sgrow 
ingag sAdea rerbi rthth anthi shisl oveha dbrou ghtTo march 
inran ksofb etter equip ageBu tsinc ehedi edand Poets bette 
rprov eThei rsfor their style Hire adhis forhi slove 



PPrwf 



CO^VRtGMT 
■¥ G90H0C PAIVAN 



LESSON 3 

STUDENT SHEET ^^^^ '*'«»• O^ 

SHAKESPEARE SONNETS 
Arranged by James Phinney Baxter 

XXXVI 

Letme confe sstha twetw omust betwa inAlt hough ourun divid 

edlov esare oneSo shall those blots thatd owith merem ainWi 

thout thyhe Ipbym ebebo rneal oneJn ourtw olove sther eisbu 

toner espec tThou ghino urliv esase parab lespi teWhi chtho 

ughit alter notlo vesso leeff ectYe tdoth itste alswe ethou rsfro 

mlove sdeli ghtJm aynot everm oreac knowl edget heeLe stmyb 

ewail edgui Itsho ulddo thees hameN ortho uwith publi ckind 

nessh onour meVnl essth outak ethat honou rfrom thyna meBut 

donot sollo vethe einsu chsor tAsth oubei ngmin emine isthy 

goodr eport 

XXXVIII 

Howca nmyMu sewan tsubi ectto inven tWhil ethou dostb 

reath ethat pours tinto myver seThi neown sweet argum entto 

oexce llent Forev eryvu Igarp apert orehe arseO givet hysel fthet 

hanks ifaug htinm eWort hyper usals tanda gains tthys ightF 

orwho ssodu mbtha tcann otwri tetot heeWh entho uthys 

elfdo stgiv einve ntion light Betho uthet enthM usete ntime 

smore inwor thTha nthos eoldn inewh ichrh ymers invoc ateAn 

dheth atcal Isont heele thimb ringf orthE terna Inumb ersto 

outli velon gdate Jfmys light Mused oplea sethe secur iousd 

aysTh epain bemin ebutt hines hallb ethep raise Yethe seems 

toset thegr eates tstor ebyhi swork 

? Proof 

^t GBOROK FAiVAN 



ussoi^ 3 



returned to the 

WHERE lOHATIUS DOmJJELIJBY ''m£''libi« ON THS CIPHBR, PLATE No. 7 

Ha failed to aoto the differeneo in the htmtorm. 
character of type, and ndeoed the application. 

510 TJ/E CIPHER IN THE PLAYS. 

Then take your interior epistle, reduced to the biliteral shape, and adapt to it 
letter by letter your exterior epistle in the biform character; and then write it out. 
Let the exterior epistle be: 

Do NOT GO TILL I COME. 

Example of adaptation. 

FLY 
aa bab ab abab a bba 
Do not go till I come. 

I add another large example of the same cipher — of the writing of an3rthing by 
anything. 

The interior epistle, for which I have selected the Spartan dispatch, formerly 
sent in the Scytale : 

All is lost. Mindarus is killed. The soldiers want food. IVe can neither get 
hence nor stay longer here. 

The exterior epistle, taken from Cicero's first letter and containing the Spartan 
dispatch within it: 

In all duty or rather piety towards you I satisfy everybody except myself. Myself 
I never satisfy. For so great are the services which you have rendered me, that, seeing 
you did not rest in your endeavors on my behalf till the thing was done, I feel as if my 
life had lost ALL its sweetness, because I cannot do as much in this cause of yours. 
The occasions are these: Ammonius the king's ambassador openly besieges us with 
money, the business IS carried on through the same creditors luho were employed in it 
when you were here, etc. 

I have here capitalized the' words all and is, supposing them to 
be part of the sentence, "All is lost," but I am not sure that I am 
right in doing so. The sentence ends as above and leaves us in 
the dark. Bacon continues: 

This doctrine of ciphers carries along with it another doctrine which is its rela- 
tive. This, is the doctrine of deciphering, or of detecting ciphers, though one be 
quite ignorant of the alphabet used or the private understanding between the 
parties : a thing requiring both labor and ingenuity, and dedicated, as the other 
likewise is, to the secrets of princes. By skillful precaution indeed it may be made 
useless; though, as things are, it is of very great use. For if good and safe 
ciphers were introduced, there are very many of them which altogether elude and 
exclude the decipherer, and yet are sufficiently convenient and ready to read 
and write. But such is the rawness and unskillfulness of secretaries and clerks in 
the courts of kings, that the greatest niatters are commonly trusted to weak and 
futile ciphers. 

I said to myself: What is there unreasonable in t^e thought 
that this man, who dwelt with such interest upon the subject of 
ciphers, who had invented ciphers, even ciphers within ciphers — 
that this subtle and most laborious intellect might have injected a 
cipher narrative, an " interior epistle," into the Shakespeare Plays, 
in which he would assert his authorship of the same, and reclaim 
for all time those " children of his brain " who had been placed, for 
good and sufficient reasons, under the fosterage of another ? 



Photograph frora The Great Cryptosran by Ignatlue Donnelly, 
copyrighted in 1887, publiahed by R. 3. Pealo & Cmftany, 1888. 



P Proof 



J^ISTRUCTJON SHEET 4 



LESSON IV 



In Lesson III, we explained to you how Mr. Baxter in his book "The 
Greatest of Literary Problems" tested Mrs, Gallup* s ability as a decipherer 
from her transcription of his own poem infolded in the three sonnets which 
we sent to you* 

But still the critics were not satisfied. They replied that undoubt- 
edly Mrs. Gallup was a skillful decipherer j but the test had been made from 
poems which had not contained any cipher in the original, and so did not 
prove that any cipher existed in the 1623 Polio, from which all the most 
importapt statements about Bacon's life have been deciphered. 

Therefore, Mr, Baxter chose the ^'l.M." poem, which is one of the dedi- 
catory poems occurring at the beginning of the 1623 Folio, for the nevf test 
he devised. By first photographing the poem and then by rearranging and 
transposing the letters composing it, he infolded in it a new message. The 
poem was then rC'-photographed and sent to Mrs* Gallup to trsuiscribe — a task 
which she promptly accomplished. Mrs. Gallup, of course, had nothing to 
work from in her deciphering, except the poem itself as it was sent her. 

We send you Mr, Baxter's arrangement of the poem, with the alphabets 
which he had made from it and electrotyped. But modern printing is not 
successful in this work — as you will find if you try to transcribe the 
message with the help of these alphabets alone. Therefore, we enclose our 
own alphabets of the ^I.M." poem, which are reproduced by a special process, 
from the Hev/berry Library original* 

By way of answer to the inevitable inquiry of the student as to whether 



f Proof 



COFYBIGMT 
r GiDftOE FABY<kN 



INSTRUCTION SHEET 4 
Lesson IV . p» 2 

two forms of type were of common occurrence in books of the 16th and 17th 
Centuries, we enclose v/ith this lesson a photographed page (Plate 8) from a 
work entirely unrelated to the Bi-literal Cipher. Here can be readily 
noted the varying forms of letters. As you are told on the photograph, 
these letters are taken from works dating back as far as 1577. 

Please be careful of the photographs and do not mark or mar them in any 
way. When the Student Sheet has beer correctly marked and this lesson 
completed, the plates must be returned to the Riverbank Laboratories in the 
addressed envelope provided for the purpose. Then the next lesson with its 
photographs will be sent you. If for any reason the student cares to 
retain any of the photographs, an additional charge of 25^ each will be 
made> and this simount should be included in that sent for the next lesson. 



? Proof 



•Y SMROC FAtYtn 



LESSON 4 

PLATE No. 8 
I. M. POEM 
Arranged by James Phinney Baxter 

To the memorie ofM. ff^Sha^e^Jpeare. 

'\jr^^^ wondred (Shake-lpeare) that thau wenCJifofoom 
From the Worlds St Age jto theGraues-Tynng-roome, 
iVee thought theedeady hut this thy printed Ti^orth^ 
Tels thy Speflaton^that thou went ft hut forth 
To enter mth applaufe. An ABors Art, 

Ondye,andliue,toaHeafecondpart. 
That's hut an Exit ofMortalitie • 
This, a ^-entrance toa Tlaudite. 

STUDENT SHEET '• ^ 

Tothe memor ieofM WShak espea re WEE wondr edSha kespe 
areth attho uwent stsos ooneF romth eWorl dsSta getot heGra 
uesTy ringr oomeW eetho ughtt heede adbut thist hypri ntedw 
orthT elsth ySpec tator sthat thouw entst butfo rthTo enter 
witha pplau seAnA ctors ArtCa ndyea ndliu etoac tease condp 
artTh atsbu tanEx itofM ortal itieT hisaR eentr ancet oaPla 
udite IM 



y Proof 



LESSON 4 
PLATE No. 8 



I. M. POEM ALPHABETS 
Arranged by James Phinney Baxter 

AB ABABAB 

A A a a h h f p 
C C h b i i r r 
EE c cK sffs 

pfe d d I I t t 

(p'% { { ^ «'^^ 
SSSSS^S oy 

-* A ^ £Sk 1 1 r 



? Proof 



Loaned only - to bt, lESSON 't 

returned to the 
Rlverbank Laboratories PLATE N^i y 



(( 



I.M';POEM 



37 18 1 3 36 



M TT ^S f hh ii ligt^ oo rr tt 

/ / / / ^'7 / / / 

^ t^ t9 Z6 33 2,5 '^ Z.4 7 W 

E> SS aa ee hh ii kfe pp rr ff tt x: 

///// ///'/// 

19 4 5 ZT ao 6 

5^5 WJV aa ee hh k^ f'f'^ jj 

/ / / / / " " ■ ^^ / / 

R 21 «0 V5 IS IT 34 5 10 • 

AAQC EE FF GG MM W %^SS fT WW. 

/ / / / ' / / /// / / 

aa hh cc dd fe ff.^^ hhit II mm nn 

/ / / / / / / / / / / / 

It 
00- pp rr SS [fit uu ufH? yj 

////// 7 / / 

32. il 16 35 38 a 

aaaa hhkis jijiftji 
// // // // // // 



THE ALPHABETS. 



COPYRIGHT 1916 
RIVERBANK COMPANY. 



-vV 



.-^^"'^ 



f Proof 



COPYHIGHT 
BV GflDRQC FABYAH 

i9n 



Loaned i-o. lui o4 

returned 1o the 

fliverbRnk LabonrtoriM 



1,ESS0N 4 
hATENo. IQ 



cAaahhccddeeffg^hh iijllmmnnoop 
paa ffjffjffi" ^ TT vutixxyyZXSjJ» 

d«l0r^ due cfcrmia Trait, Lucas HSh 
Madrid^cAm rDe. cM. H). LXXVtt 



57. ITALIC TVPK-l.l.l-rtKS. 

Photographeo from Alfhaeet.s , A Mamual ofLettewnct fob, the use of 
Students, WITH Histori cal and Practical DESCRiPTioN^ey Edwafid F, 

STRANaE.1807 

The foregoing illustration of alphabets is presented at this 
point for the purpose of showing thf> differences in forms of letters 
resorted to in the sixteenth century (1577) « 

The following statement has been deciphered from Bacon* 3 
"De Augraentis" (1624) by means of the Bi-literal Cipher^ ** By slight 
alteration of the common italic letter Sj the alphabets of the 
Bi-literal Cipher^ having the two forms, are readily obtained •** 



? Proof 



INSTRUCTION SHEET 5 
LESSONS 



After completing Sir Francis Bacon's own examples and the two lessons 
consisting of the tests arranged by ISr, Baxter, you are no\7 to be given the 
opportunity of applying what has been learned to the much discussed 1623 Shakes- 
peare Polio, The I.M. poem from that Polio has been chosen, because its brevity 
permits of its being subjected to the different steps necessary in deciphering 
any given v/ork — steps which are deemed advisable for the student to take, in 
this case, one by one. The time demanded for this preparatory work, may perhaps 
seem futile to the student; but let him remember that having once experienced the 
process in all its stages will make all that follows so much the easier and more 
accurate. 

In determining whether or not any given piece of work contains the 
Bi-literal Cipher, the first step is to distinguish two different forms. Then a 
tentative alphabet is made by making pencil sketches of the tvro forms of letters, 
often exaggerating tht distinguishing characteristics as they appear to the eye* 
Then the letters of the work are marked accordingly, and the message thus deciphered. 
For the student, however, as an aid in beginning, we send in this particular case 
the "Typical letter sheets", v^rhich cite the word in which the typical or represent— 
ative form of each letter is found, Jn these sheets, the letters which are desig- 
nated as being taken from other places — such as Pro , Dig , etc, — need not concern 
the student. For convenience, the italic and roman letters of varying sizes have 
been assigned arbitrary case numbers, Thust- 

In poem: Italic small (Lower Case) Case 1 

" capital(Upper Case) " 2 

" digraphs " 1 

Roman small (Lov/er Case) " 5 

" capitals (Upper Case) " 6 



In Title: Italic small (Lower Case) Case 3 ? Proc: 

" capitals (Upper Case) * 4 

Roman small (Lov/er Case) " 7 

" capitals (Upper Case) " 8 



CO^varGHT 
BY CaonSE PABYAs 



TRUCTION SHEET O 



ilS3 



LESS0N5 p, 2 

In addition is given a sheet listing the dotted letters found In 
the poem. The stiwliint will remember that in Lesson 2 his attention was called 
to the dotted letter in Bacon's Original Example, It Is found that a 

system of dots was used to change the marking of letters to the opposite form 

i.e., a b form letter containing one or three or any odd number of dots, is 
changed thereby to the a form, and vice versa. 

With the help of the sheets of classified typical letters, make your 
ov/n alphabet from the "l.M*" poem. Divide a sheet of paper into two colimns, 
one for the a form and the other for the b form, and draw each typical letter 
in its proper place as you determine to which form it belongs, ^'Then you hare 
thus drawn the a's, b's, c*s, etc, as you see them, attach a written descrip- 
tion to each letter pointing out what seem to you its distinguishing character- 
istics. Ast- 

a form b form £ form b form 

Description A A description Description a a df-scriptlon 



Your completed "alphabets" you will then return to the Riverbank 
Laboratorit?8, with ths "Typical letter Sheets" after which the next lesson vrill 
bQ sent yoUv 



P Proof 



CCYRlijHT 

W AMkltaE. FABYAN 

1t1» 



wavigo f,7 



returned foir: LESSON 5 

fllrtrbliHk Laboratories 

PUTENo. I I 



THE 162: : M, fOEM 
^'^WBERRY LIBRARY ORIGINAL 1623 EDITION 

To the memorfe ofM..fF»Sha.^-Jpeare. 

'^'^EEwondnd(Shake'{pesffe)that thou wentjlfofoone 

Front the Worlds-Sta^,tothe Graues-Tynn^r-rwmt. 
Wee thought thee dedd, hut this thy printed yoorth^ 
Teh thy SpeSiatorSythat thoufli>ent*ft hut forth 
To enter T^ith applaufe'. An ASkrs Art^ 
Qan dye^and Hue, to oBe afecondpart. 
That's hut an^JOtofMortalitie; 
This, a ^-entrance tQsTlatidite. 



P Proof 



TYPICAL LETTERS IN "l.M." POEM. 
Italic (Case 2) 



i-fSSOM 





a Form 






tter 


Line 


Word 


Lette 


A 


5 


Art 


A 


C 


6 


Can 





E Pro. 


20 


Expectation 


E 


F Dig. 


7 


Fresh 


P 


G Pro. 


1 


Greece 


G 


M Dig. 


4 


Moniment 


M 


P 


8 


Plaudite 


P 


R Pro. 


6 


Regall 


R 


S Dig. 


18 


Sword 


S 


T 


2 


Tyring 


T 


W 


3 


Wee 


W 



b Form 



Letter 



a ^ Form 
Line 



Cat. 



Pro, 



Pro, 



Word 



Italic (Case l) 



Letter 



ine 


Word 


5 


An 


5 


Comedy 


1 


WEE 


2 


From 


2 


Graues 


7 


Mortalitie 


7 


Put 


8 


Re-entrance 


4 


Spectators 


15 


Their 


2 


Worlds 




Tdotted to 




make "a") 


b Fo 


rm 



Line 



Word 



a 
b 
o 
d 
e 
f 

g 
h 
i 
1 
m 
n 
o 

P 

r 

/ 

s 
t 
u 
w 

y 



5 
4 
8 
6 
1 
4 
2 
5 
3 
6 
2 
5 
3 
3 
2 
6 
2 
1 
3 
1 
4 



applause 
but 




a 
b 


Re-entran£e 


c 


second 




d 


wondr£d 




e 


forth 




f 


Sta£e 
with 




e 

h 


pri_nted 
Hue 




i 
1 


From 




m 


enter 




n 


w£rth 




o 


printed 
Graues 
y¥cond 
Worlds 




P 
r 

s 


that "■ 




t 


but 




u 


wondred 




w 


thx 


? Proof 

BY oaORCe FABlffcN 


y 



Dig. 



Dig. 



Dig. 



4 
3 
2 
3 
1 
7 
2 
3 
7 
2 
3 
7 
2 
4 
4 
1 
7 
4 
1 
5 
2 



Spectators 

but " 

whi£h 

printed 

went 'st 

of 

Tyring 

thy 

MortaHtie 

Worl^ds 

must 

an 

Worlds 

Spectators 

forth 

That ' s 

thy 

thou 

with 

th^ (2nd) 



i 



LESSON 



Letter 

a 

e 
h 
k 

P 

r 

J" 



a form 



Line 



Title 
n 

« 

If 

R 
» 

II 



TYPICAL LETTERS IN "l.M." POEM. 
Italic (Case 3) 



p. 2 



Word 

Shakespeare 
Shakespeare 
Shakespeare 
Shakespeare 
Shakespeare 
Shakespeare 
Shake/^eare 



Letter 



b form 



Line 



a 


p. A. 


1 R 


e 




Title 


h 


P«A. 


6 R 


k 







P 




- — 


r 


P.A. 


2 L 


r 


P,A. 


.8 R 



Word 

Sa^muel 

Shakespeare 

Nicholas 



Richard 
Jo/eph 



Letter 
S 

w 



P.A. 



Letter 



a Form 

Line 

Title 
5 L 



a Form 



Line 



Letter 

M 

T Cat. 



a Form 

Line 

Title 
Sub-Title 



Italic (Case 4) 



Word 

Shakespeare 
V/illiam 



Letter 



S P,A. 
W Title 



Large Roman (Case 7) 



Word 



e 
f 
h 


Title 

n 

n 


memorie 

of 

the 


i 


n 


memorie 


m 



r 

t 


IT 

n 
« ■ 

R 


memorie 

To 

memorie 
the " 



Large Roman ;(Case 8) 



Word 



M 
HISTORIES 



? Proof 

BY caOXOE F*»T» 



Letter 

M 
T 



b Form 

Line 

1 L 
1 



Word 

^hakespeare 

W 







b Form 




,ter 




Line 


Word 


e 




Title 


the 


f 




>.__ 


__.-.-._ 


h 


P.A. 


Tit. 6 


these 


i 


P.A. 


" 3 


Tragedies 


m 




Title 


memorie 


o 


Cat, 


Tit. 3 


Volume 


r 


P.A. 


" 3 


Tragedies 


t 


P.A. 


" 3 


set 



b Form 



Line 



Title 



Word 



To 



Form 



X 



LESSON 5 



TYPICAL LETTERS IN "l.M." POEM pace 3 

Small Roman (Case 5) 



tp Porm 

Letter Line Word Tp+ + ^t. t- 

better Line Word 

^ 1 Shakespeare a i ou i 

p 1 ou 1 ■'• Shakespeare 

■ h 1 Shakespeare e Dig. 16 Juliet 

J- Shakespeare h T)ip Q ou«i"~ 

i Dig. 16 luliet i ^' 7 Shakespeares 

^ Dig. 1 Sflakespeare k { ;?;^^ 

n 1 oK^T K 1 Shakespeare 

ir ^ Shakespeare t> n-i p t on 7* 

r Dip Q cv^^i,^ P ^^^" ''■ SHake spear e 

y> ^' 1 Itl/"^-'^ ^ 1 Shakespeare 

\ 7 Shakespeare y^ Dig. 9 ShakeZy>ea7es 



^^^~ * Dig. 4 Stratford 

^ 7 Exit 

Small Roman (Case 6) 

a Form 

Letter Line Word t.* + « ^ ^K-I^IB 

^°^^ Letter Line Word 

E 7 Exit E 

S Dig. 21 Ihakespeare S 1 



Shakespeare 



Initial Large Roman (Case 10 ) W— b form 

Italic (Case 1) 
Digraphs. 

Digraph Line Word r\- i. 

^°^^ Digraph Lipe Word 

— 5 ^Slors is Dig. 3 



IS 

i i 



?- * Spectators Jl p^g, 3 _^^ 

ft pro. 20 Expeotation Jj Dig. 3 7^;^ 

- ' ^"i^ y^ Dig. 14 llq 

is Dig. 5 This 



]B. 3 this 



I 



y Proof 

BY GWROe F«»V*1* 



LESSON 5 



DOTTED LETTERS 
Letters which are changed to the opposite form because of the presence of 
one or three dots are indicated in the photographs of the alphabets by a large dot 
above the letter. "I.M." ?OEM 



Line 


Word 
soone 


Letter 
,e 


Form 
b 


changed 
to 


1 


a 


2 


the (1st) 


h 


b 


a 


2 


Worlds 


W 


b 


a 


3 


thought 


u 


b 


a 


3 


the£ 


e 


b 


a 


3 


printed 


e 


a 


b 


4 


thou 





b 


a 


4 


forth 


h 


b 


a 


5 


enter 


e 


b 


a 


5 


applause 


u 


b 


a 


6 


and 


n 


b 


a 


6 


liue 


u 


a 


b 


6 


part 


P 


a 


b 


8 


a (1st) 


a 


a 


b 


8 


a (2nd) 


a 


a 


b 


Title 


of 


o 


b 


a 



? Proof 

,y 0601106 F»»V*»> 



"I.M." POEM 
Reference numbers to letters taken from other places, 



LESSON 



No, 

1 

2 

3 

4 

5 

6 

7 

8 

9 
10 
11 
12 
13 
14 
15 
16 
17 
18 
19 
20 
21 
22 
23 
24 
25 
26 
27 
28 
29 
30 
31 
32 
33 
34 
35 
36 
37 
38 
39 



Letter 
o 

T 
r 
W 
a 

i 

s 

T 

y 

c 

c 

t 

M 

is 

P 

i 

S 

r 

& 

S 

k 

r-' 

G 

m 

b 

h 

e 

P 

is 

ct 

i 

R 

A 

h 
t 
P 



Case 
7 
8 
7 
4 
3 
3 
5 
1 
2 
2 
1 
2 
1 
5 
2 
1 
2 
7 
4 
3 
2 
6 
5 
5 
2 
1 
3 
5 
5 
2 
1 
1 
5 
2 
1 
1 
7 
7 
5 



Form 


Prom 


Ld 


Lne 


b 


Cat. 


Tit. 


. 3 


a 


Cat. 


Sub- 


'title 


b 


P.A. 


Tit. 


, 3 


a 


P.A. 




5 L 


b 


P.A. . 




1 R 


b 


P.A. 




8 R 


b 


Dig. 




9 


bb 


Dig. 




14 


a 


Pro. 




1 


b 


Pro. 




15 


b 


Dig. 




2 


b 


Cat. 




5 


b 


Dig, 




2 


b 


Dig. 




4 


a 


Dig. 




4 


bb 


Dig, 




3 


b 


Pro. 




7 


b 


P.A, 


Tit, 


. 3 


b 


P.A. 




1 L 


b 


P.A. 




2 L 


a 


Pro, 




20 


a 


Dig. 




21 


a 


Dig. 




1 


a 


Dig. 




9 


a 


Pro. 




1 


b 


Dig. 




3 


b 


P.A. 




6 R 


b 


Dig. 




9 


b 


Dig. 




16 


a 


Dig. 




7 


ab 


Dig. 




5 


bb 


Pro. 




20 


a 


Dig. 




16 


a 


Pro. 




6 


ab 


Dig. 




3 


ba 


Dig. 




3 


b 


P..A. 


Tit 


. 6 


b 


P.A. 




3 


b 


Dig. 




1 


^ Proof 








COPYRIGHT 








HY oeORQC PAtVAN 

1«tl 









Word 
Volume 
HISTORIES 
Tragedies 
William 
Samuel 
Jo/^pb 
Shake/ pear es 

^%/\^ 
Scene 
Their 
thx (2nd) 

Remedy 

which 

Stratford 

Moniment 

is 

Mt 

accordi^ng 

Shakespeare 

Richard 

Expectation 

^hake spear e 

SHakespeare 

Shake spe ares 

Greece 

must 

Nicjiolas 

Shakespeares 

luliet 

Pre/E 

Thi^ 

Expectation 

luli^et 

Re gall 

ojjtone 
these 
set 

SHakesjgeare 
(dotted) 



INSTRUCTION SHEET 

L E S S N 6 

In this lesson we send you our own descriptions of the letters found 
in the I.M. Poem^ for comparison with your sketches. The letters here have 
been photographed from the original 162S Folio in the Nefrberry Library, and 
have been enlarged to three and one-third the dimensions of the original, to 
facilitate the study of their characteristics. For the convenience of the 
student and to avoid confusion, the italic and the roman letters have been 
grouped separately. 

By careful study familiarize yourself v/ith the drawings and v;ith the 
descriptions accompanying tfiem. Revise your own sketches and descriptions, 
making sure that you see wherein and why the lists prepared here differ from 
your own. When you have finally convinced yourself of the true forms of 
the letters, combining your own conclusions with those sent in this lesson, 
master them thoroughly^ for the same kind and size of type is used elsewhere in 
the 1623 Folio, Thus you will be forearmed for future lessons, \Vhen you feel 
that you know the forms completely, return the plates and the next lesson will 
be sent to you. 

Please be careful of the photographs and do not mark or mar them in 
any way. When this lesson has been completed, the plates must be returned to 
the Riverbank Laboratories in the addressed envelope provided for the pin*poae. 
Then the next lesson with its photographs will be sent you. If for any reason 
the student cares to retain any of the photographs, an additional charge of 25^ 
each will be made, and this amount should be included in that sent for the next 
lesson, 

? Proof 

COffWOHT 



rflturned to the 

Rlv«fhnnl! Laboratories 

UPPER CASE ITALIC I£T7XRS 
"I.U. POEM* 



IN 



LESSON 6 
PLATE No. f 2 



A rorm 

The typical letter is 
plain with high, straight 
bar* A kem or a dot in the 
letter changes it from a to 
b or vice versa* 



A long letter extending 
beloT the line* 



BForm 



No example* 
No example 

No exaoople* 
No example 



, Has a nearly even curve 

in the top at the right* 



No example 

No example 
Curved top. 
A tal], vell*4aato letter^ 



Iiarge size type, narrow head 
and wide base* 



No example 




The typical letter is plain: 
with a cvtrved or slanting bar, 
as seen in the alphal^et* 



No exaotple* 

Top and bottom lines paralleiL; 
the kern on the base line slendo* 
and slanting* 

Top heavy and slants parallel 
to seriph of base* 



The short line slants toward 
the base* 

Kern short, straight, and 
blunt at the right. Third line 
shaded front top* Seii^iphs at 
bottom level* 

No exaatple. 



Top forms a segment of a 
circle at the left* Upright 
does not reach the top* 

Sreet; round curves* 



No example < 



The heavy, blunt letter 
with short connecting line is 
the b«$orm* It is accented 
and therefore marked a^form* 



No 



Well-made letter in large 
size type ; points sharp. 



? Proof 



COPYRIGHT 

•V •aOlldE Flt3>lkN 

1M0 



ioanetf onfy - to bo 

returned to the 

Rivarbank Laboratories 



Slai'iting, some\ii^at wide 
at the base. 



LARGS LOVSH CASE ITAUG LBTIERS IK 
"THE I.M. POEM" 







B Form 
No exaoq>le. 



If the end of the cuz*Ye of 
the base line vere produced 
it would not form a perfect o^« 






rTi 



If the end of the curve of'::, 
the baee line were produced it would 
form a perfect o* 



Somewhat slender; the loop 
is narrow at the top and pointed' 




No exas^le* 



Slender and delicate; the 
queue not widely spread at base. 




No example- 



like Ibcp is narrow in the 

bottom part. 



Some^iiiat broad at the top; 
both kerns are rounded. 




No example* 



No example • 



I 



t'^-;^ 



Long, well<-inade letter; the 
stem is a wave line* 




No example. 



? Proof 



COr^RlGHT 
BV GEOSGE FAlYMt 

lais 



Loansd «nly - to be 

returned to the 

Riverbank Laboratories 

LOViER CASE ITALIC LETTHRS IK 
"THE I. U. POEM" 



LESSON 6 

PLATE No. f4' 



A Fonn' 



Typical a form is well-made; 
the oval usually shows angle or 
shoulder and rounds gradually to 
the line of writing, making the 
letter somewhat wider at the base 
than the corresponding letter in 
the Jb fonnf also the oval has the 
appearance of a complete o, placed 
in such a way that a part of one side 
side rej?ts on the upright and often 
projects sufficiently to give the 
stem the appearance of bending 
outward near the center* 



Oval pointed at top and 
narrow at base* 



Roundness commences near 
top; curve at base usually wide< 



Stem has no wave line, but 
sometimes turns slightly to the 
left at top; toe upturned; loop 
leaves stem and rejoins it at a 
somewhat abtuse angle* 






m 




B Form 



Somewhat narrower at base 
than the a form; oval pointed; 
upright i" often either uniform 
or slightly heavier at top* 
Letter slanted* 



Oval rounded at top; upright 
straight nearly to the base* 



Roundness commences near 
center of back; curve at base 
usually narrow* 



Wave line in stem, angle 
between stem and top of oval acute; 
point of jointure below, somewhat 
high on stem* 



A line drawn through the 
loop of this letter beginning at 
the left of the oval where it leaves 
the stem and running through the 
opposite point of the oval, in- 
tersects the line of the end of 
the curve of the base produced 
either above or below the line 
of writing. 



Letter slanted; straight top, 
or, if curved, showing a small neck 
at left. 




A linb drawn through the 
loop of this letter beginning 
at the left of the oval where it 
leaves the stem and tunning 
through the opposite point of 
the oval, will run parallel to the 
line of the end of the curve of 
the baee produced* 



Letter stands nearly erect; 
top curved* 



^ Proof 



A Torm 



The lower loop is at- 
tached to the center of the 
oval; the connecting line 
usually heavy and angular. 



The stem of this letter 
is not characteristic, unless 
perhaps slightly pointed at the 
base; a line dram upward 
through the loop so as to in- 
tersect it at the middle of 
the upper part of the curve 
tends only slightly toward the -^ 
right. 



In the typical letter 
of this class the base is 
usually rounded; the kerns do 
not correspond, that is, one 
will be straight and the 
other curved. 



retarned to tlie 
RiverbsiA Laboratories 

LOTSER CAS: ITALIC LETTERS IN 
"THE I. U. PQEM" 



EESSON 6 



:*?>, . 






g 







BForm 



The lower loop is at- 
tached a little to the left 
of the center of the oval; 
the connecting line is usually 
thin. ' 



The stem of the letter is 
characteristic; a line drawn 
upward through the loop so as 
to intereect it at the middle 
of the upper part of the curve 
tends pronouncedly toward the 
right . 



In the typical letter of 
this class the kerns at the 
ends, whether curved or straight 
show a correspondence with 
each other. 



The typical letter of 
this class usually shows a 
slight wave line in the stem. 
The angle made by the kern 
and the stem is large* 

Double letters are gov- 
erned by the law of digraphs, 
not by that of single letters. 



The second loop shorter 
at top and turns slightly to 
the right; width of loops 
nearly equal at base; top kera 
Inclined to sharpness; kem at 
base usually close. 



I 



m 



m 



m 



The typical letter of 
this class has the character- 
istic stem rounded into a 
small, close kern. 



Nearly even at top; second 
loop wider at base than the 
first; top kern rounded, and 
corre3t>onds to the kem at 
the base. 



f Proof 



COPYRIGHT 
■Y aWBQE PABT^ 



ke«naa oniy - to M 

returiml to tha 

Riverbank Laboratoriet 



EESSON 6 

PLATE Mo. I g 



LOITER CASE ITALIC LETffiRS DI 
"THE I. li. POEU" 



A Foi*ra 

Letter slanting; top kern 
inclined to sharpness; kern at 
base usually clear. The loop 
tends tov/ard the right at the 
top in the sarae manner as that 
of the second loop in the ^ 
form of m 



n i 



B Form 

Nearly erect; top kern 
usUEilly rounded; the two kerns 
correspond. The letter shows 
a wideness at the base correspond- 
ing to that of the second loop in 
the b fox^ of ni» 



There are many varieties 
of small Oj and it is difficult 
to assign them to their proper 
classes. The at form letters show 
the slant c'haracteristic of that 
fonn and are best classified by 
comparing them with the capital 
letter, ^ich is less symmetric al 
than the b form* 






m 

<w^ 



If a line were drawn lightly 
along the inside of the capital 
^ of the ^ form it would show 
almost perfect symmetry. This 
appears also in all the well- 
printed lover-ease letters of this 
form. 



Stem of nearly uniform thiclcness 
throughout, or slightly shaded below 
the line of writing; loop shows only 
slight narrowing toward the base, but 
slants downward where joined to the 
upright. 




Stem often thick at top; loop 
joins the upright almost at a 
right angle. 



The letter has the slant 
that is characteristic of the & 
form. The first kern is anall and 
tends to sharpness; the second 
kern is rounded. There is us- 
ually a greater breadth at the 
top in the a form than in the ^ 
form. *" 



^ 



m 



The left kern is usually 
distinct and strong; the two 
differ only slightly. The up- 
ward stroke of the letter is 
usually strtng and distinct. The 
letter is usually some\^at narrow 
at the top. 



There are long and short 
letters in both forms* The base 
in either case is nearly horizonW 
tal. The long ^ of the a form 
is more slanting than that of the 
b form. 





The long ^ of the ^ form 
is usually upturned at the base 
and the slant of the letter is 
not EKurked. The short letter has 
the fflme characteristics. 



? Proof 



C0PYRI9MT 
BY GEORGE FABYAN 

i8ia 



Tctamed to UK 

RUertonk LaboratorlM 



lESSON 6 

PLATE No.J"^ 



LO'ffiR CASE ITALIC LETTERS IN 
••■THS I.M. POEIJ" 



a Foi'm 



Stem of nearly uniforni 
thickness, turns slightly to 
the right a little above the 
base* 



. ■ I 



b Form 



Stem usually heavy at the 
top, dinlnishea gradually toward 
the base; foot free. 



The t/pical letter of this 
class has the alaat of the 
a-forin; the first Y.ern straight; 
the second curved, or vice versa* 
The connecting line between the 
uprights is lower than in the 
b-f onn. 



First point of base sharp, 
second point blunt. The letter 
is flat topped. 



Narrow at top; second stroke _, 
bends tov/ard the first. 



?rf5^ 






Letter nearly erect; the 
kerns correspond with each other. 
The connecting line joins the 
second upright at a higher point 
in the b-form than in the a-fom» 



'■•i^' 







Both points of base .sharp; 
first and third stroke on the 
left extend in curves above the 
level of the body of the letter. 



No example. 



? Proof 



COPYBtGHT 

(T MODGE FABT^N 

III) 



LESSOt 6 



DESCHIFTION OF THE DIGRAPH5 IN 
"THE I. M. POHJ". 



The" uEicn of e slanting c 
that shows en angle in the base, 
H'ith a t that cones veil down to 
the line of writing with the 
elejit of the a fonii, gives the 
conbination "aa". 




No example. 



The union of a slanting c_ 
that shows en angle in the base, 
Fith a t that approaches the _c at 
the base, and has a cross-bar that 
thickens toward the right gives the 
combination "ab". 








wsifX 



The union of £ well-rounded 
at the base with a t that cocas 
well dov.n to the line of writing 
with the slant of the a form, 
gives the combination "ba". 



The union of a short, well- ^^' 

rounded i^ with an £ narrow in the jMT 

head and angular in the base gives ^•'^ 
the combination "aa". 



No example • 



No exasq^le* 



The union of a somewhat 
large i^ the kern and base 
corresponding, with an 8__ 
narrow in the head gives the 
combination "ba"» 



The union of a long £ 
having a wide curve at the top, 
with e t^ having a slanting bar 
and somawhat wide angle betweai 
the foot and the stem gives the 
combination "aa" . 




No example* 



? fTodf 






tMiMri only -tote 
retumed te the 



LESSON 6 
PLATE M«. I 9 



DJITIAL LETTER 
Significance determined by context ~ b-fona 




a. Form 



Large and heavy. There 
is -no kern at the top of the 
second upright. 



A plain, simple letter, with 
the top and the seriph parallel, 
the former usually a thin line. 
—P.A. & CAT. 



ROIMM TYPE IN TITIE 
Upper Case 






M 


**^'* 


n^v 


\^M 


W-*iJ< 



b Form 



No example 



Usually heavier than the 
a-form. The top shades some- 
what heavily into the kerns, 
and is not parallel to the seriph 
at the base. 



Lower Case 



The letter is Mri.de, slender, 
the b£ir horizontal. 



A well-made letter, the 
curve at the top somewhat wide. 





Somewhat heavier than the 
a-fonn usually; well-rounded; 
the bar slightly slanting. 



No example 



The letter is somewhat heavy, 
and is wide at the top of the 
loop. 



The kern is sharp and pro- 
minent, giving the letter an 
unnatural appearance. 




The letter is somevriiat more 
delicate than the a-form and 
is wide at the base* P.A. 



Well-made nnd regular, but 
somewhat heavy. — P.A. & Cat. 



? Proof 



COPYRIGHT 

131) 



a Form 

The first curve at the top 
leaves the steni at a high points 



Slightly irregular in out- 
line* 



Wide at the .top; well-made< 



loariecf onfy - 1» IW 

returned to ttw 

RIvwbank Ubonkvl^ 

ROMAN TYPE IN TITI£ 
Lower Case 



There are several variants 
but all curve upward at base and 
are somewhat narrow* 




LESSON 6 
PLATE No. 2 Q 



b Form 

The curves are regular; 
seriphB at the base slant do«»> 
ward in a Begular successions 



The letter is tall and som©'^ 
what heavy, but well-made* P»A^ 



Narrow; not particularly 
well-formed. .» P.A. A Cat* 



The letter is very wide and 
flat at the base* — P*A* 



ROMAN TYPE IN POEM 
Upper Case 



A Form 



Top and Base not horizontal* 



The curves of nearly equal 
vddth* — Dig. 



A broad, well-made letter; 
the stem rounds into a free 
foot. 



Somev;hat irregular; the 
lov/er part is often narrow* 



The loop has a shallov/ 
curve at the top, and is some- 
what wide. 




£ 



S 



Lower Case 






h 



B Form 



No example 



The CTirves are somewhat 
wide; the top narrower th.an t] 
base; the letter symmetrical. 



The stem bends slightly tc 
the left at the base and the 
foot turns sharply upward. 



A well-made letter with a 
light bar. — Pro* 



The loop leaves the stem 
with a clear curve; the right 
seriph ie low at the base.— 
Dig. 



P Proof 



COrVRIGMT 



tctned otiqr - ra bO 
rttumed to the 



LTSSON 6 



ROMAJ>I TYPE IN POEM 
Lower Cqse 



a Form 



Somevdiat delicate exiA 
v/ell-made; the stem is narrow 
at the top and vddens slightly 
at the base. ~ Dig. & Pro. 



Broad and well-made 
although somewhat heavy*— 
Pig. 



Broad; the loop is some- 
v/hat flat at the top. 



The top shows a line at 
the right turning somewhat 
abruptly domvMardS' —Pro . & 
Dig. 



Long form with vdde top 
end shallow curve. 




I 




I 



f 



b FoiTn 



Heavy; of nearly uniform 
thickness throughout; the upper 
kern prominent* 



Sorae\»^at slender and deli- 
cate; seriphs carefully placed* 



A delicate letter with the ^ 
loop well rounded top and bottom . 
Where it occurs it is changed '?^ - 
by a, dot to" the ^f orm. — . Dig. 



The upward stroke at the 
right and its downward curve 
correspond in slope and direc<. 
tion as would the two sides of 
an isosceles triangle. 



Short curve at the top and 
somewhat slender ' stem «*. Dig. - 



The letter has a v/ide 
top end a wide base that 
becomes nearly horizontal* 



The base of this form turns 
soon after leaving the stem,— 
Dig. 



No example 



A tall, somewhat awkward 
letter, wider at top than at 
the base. 



? Proof 






INSTRUCTION SHLET J 
LESSON? 

After memorizing the characteristics of the letters as you have done in 
Lesson 6, the plates of Lesson 7 will have added meaning. In Plates 22-27 
the lines of the I.M, Poem have been so spaced as to permit of the typical 
forms being placed above each letter in the poem. Plates 22, 23, 24, show 
the typical letter of the same form so placed for comparison; Plates 25, 
26, 27 show the opposite forms contrasted. To avoid crowding and confusion, 
the typical forms are placed over every third letter; hence six plates are 
required to complete the comparison and contrast of all the letters. 

The typical letter, as we have said before, is the most representative 
letter of the group to which it belongs. Dots above the letters indicate 
that the form is changed by dots found within the letters. Unmarked letters 
belong to the § form, those designated by a stroke are b forms. Numbers 
appearing above letters signify that those particular forms ere not found in 
the I.M, Poem itself, but elsewhere in the 1623 Folio where the same size of 
type is used. 

Study the letters of the poem In relation both to their own and to 
their opposite forms. Determine in your own mind wherein and why the letters 
are alike or different. Close study of these sheets will fix the letters of 
the poem more firmly in your mind. 

After careful examination and study of the six plates described above, 
then take Plates 28 and 29, where all the letters of the poem have been mar- 
shalled together in alphabetical sequence. In Plate 28, the letters are 

first classified according tcJ form, the b forms being marked by a stroke, 

P Proof 

COPYRIGHT 
BV OEOROe PAeT/*n 



■ ''T.PIJCTION SHEET 'J 
LESSON? p. 2 

and then arranged in printed order. In Plate 29 the letters are arranged in 
exact printed order without reference to form, and unclassified. Again the 
stroke indicates the b form. Stars indicate typical letters, dots signify 
as before letters whose form is changed by such marks. 

The dissection of the poem in this manner, with all related parts 
brought together in one place, will make for the serious searcher not only 
an interesting, but an exceedingly profitable study. Here is shown more 
clearly than could be done in any other manner, the variations occurring in 
the different letters of the same group, 

please be careful of the photographs and do not mark or mar them in any 
way, liThen this lesson has been completed, the plates must be returned to 
the Riverbank Laboratories in the addressed envelope provided for the pur- 
pose. Then the next lesson with its photographs will be sent you. If for 
any reason the student cares to retain any of the photographs, an additional 
charge of 25^ each will be made, and this amount should be included in that 
sent for the next lesson. 



?rroof 



COPYfllQMT 
9V GBOBOE TAOYAN 



Loanea only - to be 

returned to the 

Riverbank Laboratories 



LESSON 7 

PLATE No, 22 



I.M.POEM. 

1 • 

T 3i e r o Jf^ a, ^a 
To the memorie of Mw/jK^fe^e-;^^^^. 



I 






// ////// 



/ ///// // 



at J II J i>, 

I fFee ^JfNowgW thee de^d, hut ihis^^^^^^m^^^^''^^^ 

... / / /// //// / //_ /" //'/ 
s jT j. jp 'e t J. at S "1 t I oj ■"^' 

f^ Je/f tl^jSpeBators^hat thou^~erit'£^fmh^ ^ 

/////// / / /' / "^^ / 7 r 

\ To enter %ltfyappldiife: AnJ&oY^^^^^^M 

//// // // 

C d a I t\ a a ^i d % 
I G*« dye^andliuejto aEie a Jec(mi^4rf^^^ 



' -c" ^ivifMitaESi 4ts5;A 



?^ 



/ / / / // / // 



<5 «- i^jisB^fes^H 



I That^shutan'BidtofMbrtalhie , 

/// / ////// 
^ e t n t f 

I Tj;^, 4 ^'entrance to^^Pkudki, 



.■i^M 



/ / / / / / // 

^: N°l-C0nPARI50N WITH TYPICAL LETTER OF SAHE FO 



COPYRIGHT 1916 
RIVERBANK COMPANY. 



'X^^^^^ 



?Prool 



fiOPYWQMT 
0yaEO8<«£ FAB¥ 



\ 



Uanetf only - to be LESSON T 

returned to tho 
RIverbank Laboratories 



returned to tho ^, u- <^ Q 



I.M.POEM. I 

o e 111 i f S\ {^ p r 

To the memorie of M. JV^Shake^fpe^re^ I 

/ / / / / ' 

M % n Skpr h t ii n f 'o. e 
Vr\7B E tpondred (Shake-lpeare) thattkm t^enfftfofoone | 

';■■// 4 /' / / // /' /■/"'/'// / / / 

/ /' // ' /// / /// y ■ - / / / 

e h ^ t e, a u h h r t "^ t 

Wee thought th£e dcAdy hut this ^ky p^^^^ii?Qrl^^fi^^^',^-^ 

'/ / // / / / / / / // /" /'/' / /'"-'■ -^ 

e t S B lyt t o' e ^ t M 

Teh thy SpeBators^that ^^5«T87e?7i^Sf|in# F 

_ / ////// / / /, / / / ' -^-^- 

W n r t p a e Mr f 

To enter %&h ■applduBi.^./iBm'Mrti^^^^S^i' --:w-^::^lH 

a y n i t S f a /» J_ 
(4w dye^dndliuejto aBe afico?idpart^ -y-y^^^-: . .^.^^p^?^.^ 
/ / / / // / // 

Tl^^r'j kt an "^^ofMortalitk i 



/// / ///'/// 

j?^ / g r i? i / 

This^a^-entrdnceio'a^laudite. 

'///// / // 

N^^-COMPARISON WITH TYPICAL LETTER OF SAME FORM. 

COPYRIGHT 1916 ^'^'X^ 

RIVERBANK COMPANY. ^ 



? Proof 



lotnetf onty - to bt 

returned to th« 

RIverbank LaborttorliD 



ki 



I.M.POEM. 



ti&i'oeM h e e, e 
To the memorie of M. JV Shake ^fp^ 



LESSOM 7 
pUTEHo.24 



I 



n e 



/ / / 



v;i 



h e e 6 a h tp t ft I 

\T'\J'EEiPondred(Sh2kQ'{fQzxQ)tl}ati^ J 

^ ^^ / / ////// /' / 'j-'^^'^'^jy / /'■ 

■B m .Wi n 'sa t h fi|jr«:i| 

From Ithe Worlds^ Siage^to the Grm^l^irt^roorm^r -^ 

/ / / // / / // / / ' ' '^ 

% 3 /; h d W t k ^ i e oh 

Wee thought thee deadyhut this thy printfdlm'thp 

// /// //// /// / //// 

/; h f_ a r h t ifr n 1 y^ i 

TelsthySpe&atorSythat thoui^enTjllf^Jorth^^ ^ 

/ /////// / / / ^'" V / 

t Tt> h p ^f A H ^s t 

To enter Hfith appkufe: An ABors Art^ 

/ / / / /' / / ' / ' ~ 

n e d u % e n a 

Qan dye^andUuejto a^e^^cond part. ^ 

/ / / /" /////' 

T t 4if n t f: ¥ l i 

That's hut an Exit ofMortalitie ^ -/ 

/// / ////// 

■h. %_ n a e a a 
This^ a ^-entrance to 4 'PUuditio 









/ / / / / 



/ // 



N?5-C0nPARI50N WITH TYPICAL LETTER OF SAME FORM. 



COPYRIGHT 1916 
RIVFRBANK COMPANY 



■\ 



9 fioof 



COPYRIGHT 



kk 



Loaned only - to be 

returned to the 

Riverbank Laboratories 



LESSON 7 
PIAT£ No. 2 5 



I.M.POEM. 



T h e r o 
To the rhemorie of 



r/ 5 



W 'a J a 
JVShake^fpeare. I 



IB? •# ^ a fa f t '^ ft f n 
'^\7'EEtPondred(Shake-fpGarQ)that thou wentftfo/oone 



t W I S z I 



/ / / / // 



/ / 






/ / 

■ . .. . «-> _ , ' . 

Prom the Wbrtds^Sta^e^to the Grkues-Tyring-room?:^ 

/,/ / /// / 
W t u I e € it 



/// / 

t p n d r 

Wee thought thee deady hut this thy printed y^orth^ 

10 '/ / u // / / / / / / / / ' r // / ./ 



/ / / 



yl 



^ T 5 J' e, t 5 d /; IP t ^ h' 
Teh thy SpeBatorSjthaf thouti^entft huf forth 



/ ////// / 
ei e / a I f n 

To enter Iptth apflaufe: AnABors Art. 



/ / / / / / 

A 



? 



/ / / / 



/ / 



/ / 

■ 'r 



1 



C d a I e a a c % 
Qan dye^and liuejto aEie afecondpart 



/ / 
h 's t 



V* 15' 

t M t. t e 



// / // 



That's hut an Exit ofMortalitk - 

«• e t n t T 
Thi6^a%e-entrdncet0£ 'TUudits, 






•"'V^'^j^c? 



F^. 






/ / / / / / // 

N°4-C0NTRA5T V/ITH TYPICAL LETTEf? OF OPPOSITE FORM. 



COPYRIGHT 1916 
RIVERBANK COMPANY 



'^'^^^^ 



? Proof 



COPVHI«H» 



returned to the 
8i«rEtei>k<. Laboratories 



PLATE Mo. 2 ^ 



it 



i.m:poem. 



18 . 

tn I 



o e m I i r 



£ r, S k p r /? £ « n foe 
'^'^BBippn^iyd(^^ mnt*Jl/o/oone Jj 

oh a § t e t G H T 'i f\ m 



" FrmniheWortds-Siage^toth 

e /; ^ t e a ^ iS h T t tt^i £ 
Wee thought thee dead, but this thyprmtMifiQr^.,,,^^^^^^^^^ #<J 



/ / ^ // / 

9 



////.///„/ /// / 

8 rt «!??; 






e t S B a t t e ft t $ 
7f ^ f% SpeBatofSythat thouti>ent'ffi^orS^^'^^/ 

) //////// ///^ // 

T n r t p a e ^PP 

/ ^^/ / / , ^ / / /^ _/ 

4 y n i t B f a p £ 

(/iw dye^and liue^to aBekficond^fart. "^ ""'■"""'■ ' "''^^^^^^^J 



/ / 
aba 



/ // / // 

a 4i t 



T'/?^?'^ to ^w ^xitofMortalitie 



Mm 






10 



/ /- / / / / / / / / 



e r c a 



I 



T a 

7i^5 a ^-entrance to € ^tmdiu* 

/ / / / / / // 

N°5-C0NTRA5T WITH TYPICAL LETTER OF OPPOSITE FORM 



m 
I 



COPYRIGHT 1916 
RIVERBANK COMPANY. 



'\jSi'\*^ 



? Proof 






Loaned only - to be 

returned to the 

Riverbank Laboratories 



LESSON 7 
PLATE No. 2 7 



ii 



m:poem 



t m o e he.ee. 

To the memorie oi M. JV Shake ^fpem. I 



n e. n e e e 



E n e. h e e e 4 /; lb t o o 

'VTA/BE «»ow<(/rei^(Shake-fpeare)^/;^t ^|^« ipen/Jlfo/oone ^ 

/'//// / ' / ' / / '// / / ' 

? r s a t h r e y 'k % 

FrmfheWorlds^Stao-eytothe 0t^0^rimjroormk,i:.M 



r m 



/ / 



/ 



/ 



k h 1) §1 d t is y ^i % 



/ / / 



'.^:>^- 



"-wwv'i'.'vi-.' — rr55Kf=^ 



■^^^ 



^ee thought thee deady hut this thy print0iijorthp 

' / / ///_//// / // ' /I ' /7"/- 7"- 
^ / /; / 4 S /? t u n h ft 

Teh thy Spe&atdrs^thai thou 1i?enYjiltSforib ?-^ 

" / ///////. / / / / / 
t n> h f u J *^ 5 t 

To enter Ti>ith applaufe: An ABon Art. /;, :;/. . .,. , MwSM 
/ / / / ^ . , /' / /_ /'" 

« e ^: lif 0. e 1^ n. ^ 

Qan dye^and liuejto aBed/econdpart* . 

to "/ / /33. J // / // 

T t u n i jf r / / _^_ 

T'i^^?*^ ^«f 4W ExltofMortalitie | ;' 

/// / ////•/.,/ 
h ^7( n a e a a 

Thk^ it ^^-entr4nceto& 'fkuditi»_-.- ; 
'• N'^5-C0NTRA5T WITH TYPICAL LETTER OF OPPOSITE FORM. 

COPYRIGHT 1916 <)f^f^- 

RIVERBANK COMPANY. . ^ 



, i_' *" z. ' 



' '%m 






? proof 






, , . LESSON 7 

iDanec only - ic ire 
returned to the PlATt No. ^ ^ 

Riverbank Laboratories 



ifci m «^* 



M.POEM. 

vv 

eee f h i tarn ooc r t T 

/ / / / 

E S aaeeehikprf tx 5 /^ aa eee, h kp^f 
4 Ad CEB FG M f ^ S5 TTTft WW 

aakaaaW.aaaaaaaa4Maa4 hhb xc dldddddd ddd 



/ / 

*• . • • » • * * ^L m -^ 



- eeeee^ee'eeeeeeehee eeeeeeeei jf>/ g^ ^ hhhhhhhh'h hhhhhhh 



I ^ 1 / / 



/ / 

_* ♦ ^A_^ *_. ^_« • * , ♦ * . • 

mm i UUtl mm nnnnrinnnnnnnnn ooGomoooooom oboooooo 
/ // I — 1 I — — I 

♦ • * * . . __ , * * ♦ .* - * 

PPPF P ^^^^^ r'rrrrrrrrrr sssss 's Jjf f 
/ ^ y ' / / 

tttttttmtmmit ttmitttmttm 

I . I 

/ 
.♦•♦•• * * * 



nuuu uumm u>w%^i^i^ yyyy 



J L 



FiBB kis J}, ft 

LETTERS ARRANGED ALPHABETICALLY, CLASSIFIED ACCORDING 
TO FORM, AND IN PRINTED ORDER. ^^,y- 

COPYRIGHT 1916 \vr^'^'^\"~ 



RIVERBANK COMPANY. 



^ ?T00f 






- - , to be 

returned to the 
Riverbank Laboratories 



l.tbbUN ( 
PLATE No. 2 9 



ifcl M. M^^ 



I.M.POEM. 

vv 

/ 

eee f hi torn ooo r t T 

/ / / / 

E S aaeeehikprf tx S W m eee h \ pM f 

AAA QBE F G U9.^SS TTTtt WW 

aaaAaaad:aaadaaa\act4£ 4 hhh cc dddddddddd 



/ "/ / / / // 

**• • • • « ♦ * »_ • * • * 

eeeeeeeijeeeeeeeeeeeeeeee^-eeei ff g^g-g hhhhhhhhhhhhhhlyhh 

// "///"//' / / / / //////// 

it a J lUUi mm nmmnnnnnwinnnooodoooooooooooooooooo 

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LETTERS ARRANGED ALPHABETICALLY AND IN PRINTED ORDER. 



COPYRIGHT 1916 \vS^ ' \ 

RIVERBANK COMPANY. 



V^^-^'' 



^ Proo! 



COPVfilGMT 
TV GEORGE F*pv#i 



(i'o j huv^i iuiM 6nttT 

L E S S N « ., 

You are now ready to begin work on the cipher of the famous 16S3 Folio, 
and the "l.M," Poem is sent to you this time Just as it appears in the 
original edition with the message infolded by Bacon^s own hand, which was 
destined to remain undeciphered and unquestioned for almost three hundred 
years. 

You have already studied the descriptions of the letters of this poem. 
you have familiarized yourself v/ith the typical letters of both the a form 
and the b form^ You have seen all the letters of the poem compared and con- 
trasted, arranged alphabetically and in the order in which they are printed > 
classified and unclassified. 

Now you are to apply your knowledge gained from Lessons d, 6, and 7, in 
marking the letters and working out the cipher message* With your previotja 
study, you should be able to mark the letters, without any aid of alphabets; 
but in order to guard against the occasional lapse of memory we enclose "The 
Alphabets* where the forms of all letters are arranged for concise and easy 
study. This lesson done earnestly ifi a sure foundation for the lessons to 
follow. 

please be careful of the photographs and do not mark or mar them in any 
way, Vflien the Student Sheet has been correctly marked and this lesson com- 
pleted, tho plates must be returned to the R5-Verbank Laboratories in the 
addressed onvePope provided for the purpose. Then the next lesson v/ith its 
photographs will be sent you. If for any reason the student cares to retain 
any of the photographs, an additional charge of £5^ each v/ill be made, and 

this amount should be included in that sent for the next lesson, 

? Proof 



coFynioKr 



LESSON 8 

Uianed only - to be ^_ ^^ 

returned to the t>LATE Ho. 3 Q 

Riverbank Laboratories 



THE \623 I. M. POEM 
NtWBERRY LIBRAE O^'^'f^^L 1C23 EDITION 

To the memorie orM..Jf^.Shake^fpeare. 

X/VTB E wondred (Shake-fpeare) that thou mntjlfofoone 

From the Worlds-Sta^^tothe Graues-Tyrhig-romt, 
Wee thought thee dedd, hut this thy printed ^orth, 
Teh thy SpeEiators^hat thoufi>ent*Ji hut forth 
To enter T^hhapplaufe'. JnABiors Art^ 
Candye,andliue,toaBeafec<mdpart, 
That's hut anFjotofMortalitie; 
This, a ^'entrance t94TUudite. , '^ 






? n 



rocC 



Loaned only - i: 
returned to the 
Blverbank Uboratoriet 



LESSON 8 
PUTEN0.3 f 



(< 



m:poem 



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R 21 30 25 IS IT j34 5 10 • 

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/////// / / 

32, 31 16 35 36 a 



" THE ALPHABETS. 



COPYRIGHT 1916 
RIVERBANK COMPANY. 



LESSON 8 
STUDENT SHECT 

PLATE No. E 
I. M. POEM 
Shakespeare Folio 1623 

To the memorie ofM. ff^Sha^-Jpeare. 

\/\/B E wondred (Shake-fpeare) that thou went'ftfifoone 

From the Worlds'Stage^tothe Graues-Tyring-roomt, 
Wee thought thee dead, but this thy printed Hjor thy 
Teh thy SfeBators^that thou tbent*ji hut forth 
To enter Vtth applau/e. An AFiors Jrt, 
Qm dye, and Uue^to aSie a fecond part. 
That's hut an Exit ofMortalitie • 
This, a ^e-entrance toa flaudite, 

Tothe memor ieofM WShak espea re WEE wondr edSha kespe 
areth attho uwent stsos ooneF romth eWorl dsSta getot heGra 
uesTy ringr oomeW eetho ughtt heede adbut thist hypri ntedw 
orthT elsth ySpec tator sthat thouw entst butfo rthTo enter 
witha pplau seAnA ctors ArtCa ndyea ndliu etoac tease condp 
artTh atsbu tanEx itofM ortal itieT hisaR eentr ancet oaPla 
udite IM 



y Proof 



' CittlRC.E FAiYAN 



INSTRUCTION SHEET Q 



LESSON 



For this lesson we send you a oopy of the "L, Digges* Poem which 
appears on the sane page and just before the "I.M," Poem in the original 
1623 Folio.. 

The size of type you will find is the same as in the "l.Mi" Poem 
and as a whole the alphabets are the same. Beeause of the length of the 
'^Digges" Poem, there are naturally more forms of letters present than in the 
"l.M.* Poem. The follov/ing changes, however, occur; - the capital S and 
small b forms of the "Digges" poem are the reverse of the forms found in the 
"l.M*" Poem, In line 17, there is a hybrid capital S which combines the 
top of the b form with the base of the a^ form and which must be marked as 
belonging to the a form. 

This poem contains a message from Ba«on which you will find of the 
greatest interest if you are able to transpose it correctly. 



Please be careful of the photographs and do not mark or mar them 
in any way, ^Then the Student Sheet has been correctly marked and this 
lesson completed, the plates must be returned to the Riverbank Laboratories 
in the addressed envelope provided for the purpose. Then the next lesson 
with its photographs will be sent you. If for any reason the student cares 
to retain any of the photographs, an additional charge of 25^ each will be 
made, and this amo\int should be included in that sent for the next lesson. 



? Proof 



»» S60«0€ FAlV*" 
ml 



PLATE Mo. 3 2 





1 O" 1 HE MEMO 

of the dcccafed Authoiir Maifter 

W. Shakespeare. 

Hake-fpearc, at length thy ptousfellomes pm' 
The world thy Workes : thy Worhsfy mhkh,mt4im 
Thy Totnbe^ thy name mujl • when thatftomurmU 
And Time dijfolues thy StridordMbnimenty 
MereTi>ealiue (I)aO <view thee fiili. This ^ooke^ 
When 'Brafft and Marhk Jade jjh all make thee Imh-. 
prejk to aEl Jgesvufhen^oftentie 4 

Shall loath what*s neTi^^thinke all vspndegie A, 

That is not Shake-lpeares ^ eury Line^dC^^^0€ 
Herejhall rekiue/edeeme thee from thyHe^:'. 
Kor Fire^nor cankring Jge^as Ndofaid'^ 
Ofhis,thyTifit'fraught ^ooke jhaUonce Imd^i:, 
, tiorjhalller^ hdeeue, or thinks thee 'd0^'Jiy\ 
■ ; (llm^^n^ywnill our hanh'omSi^ 

(JmfpfstWe)withfome neti? ftr^ ^^^^•^f^!; ' | 

.v- ,. Orti^fieare a Scene more mhlj W^^ 

*p '"^K^miMn thy half Sword jm^'^'^m 
-• Till thefe/dlany of thy .^dm$mf0 '- 
Shall with fnoreftre^moreftdm^h^f 
^efure^our Shake=ipcare» thm cmft ^aw",^^- 
!Butcrol^nd with LaT^reliJm iUrmlb 



■^^-\- 



pFfoof 



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fe€SSON 9 
PUTENo. 33 



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L.DICCES'POEM 




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COPYRIGHT 1916 
RIVER8ANK COMPANY. 



fifift^isi^imMM' fifi^ 



THE ALPHABETS.- 



#<" 



?Proo£ 



corr* 



LESSON 9 



STUDENT SHEET 

L. DIGGES POEM 
Shakespeare Folio 1623 

TOTHE MEMOR lEoft hedec eased Autho urMai sterW 
SHAKE SPEAR ESHak espea reatl ength thypi ousfe Howe 
sgiue Thewo rldth yWork esthy Worke sbywh ichou tliue 
ThyTo mbeth yname mustw henth atsto neisr entAn dTime 
disso luest hyStr atfor dMoni mentH erewe aliue shall viewt 
heest illTh isBoo keWhe nBras seand Marbl efade shall maket 
heelo okeFr eshto allAg eswhe nPost eriti eShal lloat hwhat 
snewt hinke allis prode gieTh atisn otSha kespe arese uryLl 
neeac hVers eHere shall reuiu erede emeth eefro mthyH erseN 
orFir enorc ankri ngAge asNas osaid Ofhis thywi tfrau ghtBo 
okesh allon ceinu adeNo rshal Here belee ueort hinke theed 
eadTh oughm istvn tillo urban krout Stage bespe dJmpo ssibl 
ewith somen ewstr ainet outdo Passi onsof lulie tandh erRom 
eoOrt illJh earea Scene moren oblyt akeTh enwhe nthyh alfSw 
ordpa rlyin gRoma nsspa keTil Ithes etill anyof thyVo lumes 
rests hallw ithmo refir emore feeli ngbee xpres tBesu reour 
Shake spear ethou canst neuer dyeBu tcrow ndwit hLawr ellli 
ueete mall yLDig ges 



^ Proot 



COrifHIOMT 
•y CEORQE FABYAN 



INSTRUCTION SHEET f Q 
-LESSON 10 

"TroiXus and Cressida" is the only play in the 1623 Folio which 
hae a prologue. It is also the only one which is not mer^tioned in the 
Catalogue (index). As the pages are unnumbered it Is obvious that for some 
reason the play was added after the Folio was being put together. It is 
thought there was some delay in procuring this play from the manager who had 
the rights at the time to produce it, so that space was left and it was 
inserted later. By a miscalculation there was an extra page to fill for which 
the Prologue was written — a fact which means in any case that the Prologue 
was written after Y/illiam Shakespeare's death. 

Here again we find the alphabets which we have been using in the 
"l.M," and "Digges" Poems, There are, however, some Important differences. 

The forms of the capital S*8 are the sane as In the "l.M." 

The forms of the capital W'e are the reverse of those of "1,?^.* 
and "Digges", The a form is unchanged because it contains two dots and an 
even niimber of dots does not change the form of the letter. 

The forms of small "b" are the same as in "Digges", but reversed 
from those in the "l.M." poem. 

The forms of small "k* are reversed. 

The forms of capital "L" and small "1", small "h", and small "y", 
are reversed. 

In line 15, the "a*^ in "six-gated* is wrong font and should be 
marked b form; the "f" of chaf*d, line 2, is a hybrid, whose marking is a 
form, 

y Proof 



iNSTRUCTION SHEET 

L E S S N 10 p. 2 

The Prologue is the last of the pages in the 1623 Folio, where 
this particular size and kind of type is used. You will proceed now to 
different type forms. 

Please be careful of the photographs and do not mark or mar them 
in any ■way, When the Student Sheet has been marked and this lesson com- 
pleted, the plates must be returned to the Riverbank Laboratories in the 
addressed envelope provided for the purpose. Then the next lesson with its 
photographs will be sent you. If for any reason the student cares to retain 
any of the photographs, an additional charge of 25^ each will be made, and 
this amount should be included in that sent for the next lesson. 



y Proof 



con""'"'' 



Loaned i- 
returned tt- ir'< 
Riverbank Laborau..' 




IN.Trnj there lyes phe Scene : From Iks of Greece 
The^nnces OrgtUom, their high blood chafd 
Hciuk to the ^6rt of Athens fait their pippes 
fraught with themwijlers and injlruments 
Of cruel! Warre : Sn:ty and nine that wore 
Their (^romnets Tergal! from th' Athenian hay 
Tut forth toDmrd Thrygia, and their ^oli^ is made 
To ranficke Troy, l?ithtn whofejlrong e??iures 
The rauifl)d Heleii;, M.Qndd.usQueene, 
With ivanton PsLrisfleepeSj and that's the QmrrelL 
ToTenQdos they come. 
And the deepe'dra')'i^i?ig 'Barke do there difgorge 
Their Ti? ar like fraut age : now on Vardan Chines 
Thefrefl> andy et <vnhruifed Greekes do pitch 
Their hraue ^auillions.^rhmsfix^gated (jty^ 
Dardan and Timbria,, Helias, ChetaSy Trol^^j 
And Antcnonidus Ti>ith mafsieStapUs ? " ' '' 
Andcorrefponjtueandfulfilltng'BQlts 
Stirre a^p the; Somes (f Troy, 
'^oipExptBAtioH tickling skhtijh^kks^: 
On one mi other fide, Troianmd Gruk^ 
Sets allonha^rd. And hither amf come^ 
ATrdogue^m%iHt;nQtin€©nfiiin€i 
Of Authors pen^ or ^Borsy>Oy€e ^ hut fukii 
Jn like canditioni^ "df bur Argument j 
To tellyoH (fain (Beholders) that our flay -^ 
■ Leapesmthewamflmdfirftlin^sofihofihQfk^^ 
mginningmi 
Towhatnu^h 




Hp , 



ItSSOH j 



f=i>ij' 



toanerfonfy-fofet LESSON | Q 

returned to {h8 
Rl««riiank LaiwnrtMfM PLATE No. g § 



"THE PROLOGUE." 

A 4 m Cb ^i EE FF GG ItHlfLL 

/ / / / / / ' / /// 



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eegnhioorrii 



/ / / / 

EXA MPLES OF LETTERS CHANGED BY DO TS. 
a 4 e g y ?r ^ p h y A e 



— THE ALPHABETS.— 

COPYRIGHT 1916 '\>i>'^T^ 

RIVERBANK COMPANY. 



?ftw4 



STUDENT SHEET 

PROLOGUE TO TROYLUS AND CRESSIDA 
Shakespeare Folio 1623 

ThePr ologu eINTr oythe relye stheS ceneF romll esofG 
reeee ThePr inces Orgil loust heirh ighbl oodch afdHa uetot 
hePor tofAt henss entth eirsh ippes Fraug htwit hthem inist 
ersan dinst rumen tsOfc ruell Warre Sixty andni netha twore 
Their Crown etsRe gallf romth Athen ianba yPutf ortht oward 
Phryg iaand their vowis madeT orans ackeT roywi thinw hoses 
trong emure sTher auish dHele nMene lausQ ueene Withw 
anton Paris sleep esand thats theQu arrel IToTe nedos theyc 
omeAn dthed eeped rawin gBark edoth eredi sgorg eThei 
rwarl ikefrj autag enowo nDard anPla inesT hefre shand yetvn 
bruis edGre ekesd opitc hThei rbrau ePaui Uion sPria mssix 
gated CityD ardan andTi mbria Helia sChet asTro ienAn 
dAnte nonid uswit hmass ieSta pies A ndcor respo nsiue andfu 
Ifill ingBo ItsSt irrev ptheS onnes ofTro yNowE xpect ation 
tickl ingsk ittis hspir itsOn onean dothe rside Troia nandG 
reeke Setsa llonh azard Andhi thera mJcom eAPro logue armdb 
utnot incon fiden ceOfA uthor speno rActo rsvoy cebut suite 
dJnli kecon ditio nsaso urArg umeiit Totel lyouf aireB ehold 
ersth atour PlayL eapes oreth evaun tandf irstl ingso fthos 
ebroy lesBe ginni ngint hemid dlest artin gthen ceawa yTowh 
atmay bedig ested inaPl ayLik eorfi ndefa ultdo asyou rplea 
sures areNo wgood orbad tisbu tthec hance ofWar re 

? Proof 

COPYRIGHT 

dV GEOROE FAIVAN 

1»1C 



LtSSONiO 
PLATE No. G 



INSTRUCTION SHUT | | 
LESSON 11 

The list of "Princip&ll Actors" found in the 1623 Polio (Newberry 
Library) contains a set of alphabets found nowhere else. The type is larger 
than any that you have studied and as a \7h0le the distinctions in form are 
more easily seen, especially in the roman type, where they are very clear. 

In exaiaining new alphabets, it is necessary to forget entirely the 
alphabets v/hioh you Irnve learned. The same rules do not apply in different 
alphabets. For instance, take the small italic £^s of the "Principall 
Actors." If the base line is produced in the b form it will form a perfect 
oval, while in the a^ form, it will fall within or without the upper part of 
the letter. In the entire page, only one h form small italic & occurs. The 
remainder of the a's are a^ forma. 

We have tried t6 make clear to you how to determine rules for the 
alphabets for yourself, so that you oaji, with study, decide on the distin- 
guishing characteristics of the forms of any letters and :ot be deceived by 
false differences. Memory vrill not help you until your eye has become 
skillful enough to seek out true variations. 

Please be careful of the photographs and do not mark or mar them 
in any way. When the Student Sheet has been marked suid this lesson com- 
pleted, the plates must be returned to the Riverbank Laboratories in the 
addressed envelope provided for the purpose. Then the next lesson v^^ith its 
photographs will be sent you. If for any reason the student pares to retain 
any of the photographs, an additional charge of 25;?^ each will be made, euid 
this amount should be included ih that sent for the next lesson, 

? Proof 



toaned only - (e b; 

returned to the 

Riverbank Laboratories 



Ltboun 1 1 



The Workes of William Shakcfpearc-, 

containing all his Comedies^Hiftories, and 

Tragedies ;TrueIyfetforthi according to their firft 

0%JGJKJLL. 




The Names of the Principall Adors 

mallthefePlayes. 

i Samuel Qilhurne. 
TRfibert<*y{rmin, 



Illiam ShakeJ^eare, 
Ti^hard'Burbadge, 



^ohnHemmings, 
aAuguJline Thillijfs. 
WtllUmK^mpt, 
ThomasToope. 
George^ryan. 
Henry CondelL 
IVdliamSlye. 
^chardQovply. 
fohnLomne. 
Samuel/ Croffe. 
tAlexander Qooh(. 



William filer. 
J^Qathan Field, 
fohn Vnden^God. 
J^Qcholas Tooley. 
William Ecclejlone, 
fofef>hTayhr. 
'R^ert'Benfield. 
^bert (joughe. 
^Richdrd^binfon. 
lohn Sbanch^» 
lohn ^E^e. 



F Proof 



loanetf on; 
returned to i,-,;? 
Rliwrtank UbinufiM 



LES 

o 



/ 



6i 



PR I NU PALL actors: 

S (T WW 

/ 

aa ec f hhii kk 1 m oo birr s 

GHan 



/ / 




iriiNPT 



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aa cc do eef g hh ii mrrjnn 06 p rr ss ti 

/ / / / / / / 3 / ' /*/// 



P a cc dd ee f 

/ / / 



Biiill T 

/ / / 



tjaoo rr f ss; tt u y ift II 



/ / 



/ / 



/ / 



3^0 T W^mTTV WW 



/ / 



M bbccddee gg^ ii {^^ mm%rifoo pp rr s 

/ / / / / / / / / / ///'// 



/ / / / / / / /////// /// 

ijA GG fi 111 n^^oo x^ 



THE ALPHABETS. 



vf 



COPYRIGHT 1916 
RIVERBANK COMPANY. 



~0< 



? Proof 



COPYRIGHT 
BY QEOROE FA6YAM 



LESSON f I 
PLATE No.f»j( 

THE NAMES OF THE PRINCIPAL ACTORS 
Shakespeare Folio 1623 

TheWo rkeso fWill iamSh akesp earec ontai ninga Uhis Corned 
iesHi stori esand Trage diesT ruely setfo rthac cordi ngtot 
heirf irstO RJGJN ALLTh eName softh ePrin cipal lActo 
rsina lithe sePla yesWI lliam Shake spear eRich ardBu rbadg 
eJohn Hemmi ngsAu gusti nePhi Hips Willi amKem ptTho 
masPo opeGe orgeB ryanH enryC ondel IWill iamSl yeRic 
hardC owlyJ ohnLo wineS amuel ICros seAle xande rCook 
eSamu elGil burne Rober tArmi nWill iamOs tlerN athan 
Field JohnV nderw oodNi chola sTool eyWil liamE ccles toneJ 
oseph Taylo rRobe rtBen field Rober tGoug heRic hardR 
obins onloh nShan ckelo hnRic e 



? Proof 



H^ oT RUCTION SH£eT ^2 
LESSON 12 

The "Catalogue" of the plays in the 1623 Polio (iJewberry Library) 
contains a very important message — one which Bacon knew would mean his death 
if it were discovered during his life by Queen Elizabeth, Therefore it is 
not strange to find that this message is hard to decipher smd that in the 
alphabets taken from it there are many letters in which the distinguishing 
characteristics of the a form and the b form are hard to determine. 

The type seems at first glance to be like the medium sized type of 
the "l.M." poem and the "Digges" poem, but it is somewhat different, as you 
will see by close study of the small italic a's. 

The small italic e^*s are the same as in the "Principall Actors"; 
that is, in the b form if the end of the base v/ere produced, it would make a 
perfect oval; while in the a form it would fall either outside or inside of 
the top. 

The b form of the small italic f *s is curved at the top, while in 
the a form the top is straight or, if curved, it is thin at the neck, making 
the line on the inside appear nearly straight. 

The large italic T^'e are among the most difficult letters to dis- 
tinguish. However, if you take care to study the letter for parallelism of 
the top and base, you villi find that the b forms are comparatively parallel, 
?/hile the a, forms are not, A casual glance will not suffice for this test, 
Kote, for instance, the T^ in "Tempest" line 1, left. At first glance, the 
top and base at the right of the stem seem fairly parallel, but to the left 

of the upright they seem far from corresponding. But look again: the inside 

? Proof 



UitWUCTION SHEET I ^-. 
L E S S N 12 p»2 

inking of the top goes upward, whereas the outside outline tends downward. 
Since the outside line is more truly the direction of the top as a whole, 
the judgment based thereon must be that the top and base are comparatively 
parallel — a oonc>lusion which at first glanoe seemed absurd. Hence it is 
seen that the distinotion is one which can be noted, with care and study. 
The T^ of "The", line 1, right, is a letter whose form is obscured by a slip, 
apparently, of the t3rpe in printing. Its form, decided by context, is b. 

The difficulty of this page from the 1623 Polio is only one of the 
problems the true decipherer has to meet. But even though the way be hard, 
the pleasure of winning is very great indeed. Any questions ^nd inquiries 
by way of assistance to the student, sire always gladly received and care- 
fully noted. 

Please be careful of the photographs and do not mark or mar them 
in any way. When the Student Sheet has been marked and this lesson com^ 
pleted, the plates must be returned to the Riverbank Laboratories in the 
addressed envelope provided for the purpose. Then the next lesson with its 
photographs will be sent you. If for any reason the student cares to retain 
any of the photographs, an additional charge of Zbd eaeh will be made, and 
this amount should be included in that sent for the next lesson. 



? Proof 



COPYRIGHT 

■V GeORCIE FAOYAN 

111! 



returned to the 
Riverbank Laboratofifei 



PUTEH0.38 



A C AT ALOGVE 

of the feiierallComedieS^ HiltorieS, and Tra- 
gedies contained in this Volume. ' ] 



COMEDIES. 



He Te?npefl, Folio i. 

The rUfo Gentlemen of Verona. 1 o 
The Merry Wines ofWindfor. 5 S 




Mea/urefor Meajure. 


. 61 


The Comedy of Err ours. 


85 


Much adoQ about tiothin^. 


101 


Loues Labour ML 


t^i 


Midfon^mer N^^^fi Vreame. 


145 


WbtMerchint of Venice. 


163 


l/UyouLikeit. 


-J^5 


The Taming of the Shrew. 


;2o8 


AUis well, that Ends well. ' . 


Z^O 


Twelfe^Kight,oru>hatyoumlL 




ne Winters Tale, 


J04. 



HI STORIES. 

i ordDidth of^ng phu 
■€ 0^ death jfTiicharl^e^ 



The FirjJpart oflQn^ Henry the fourth, '^ 
The Second part ofI<^. Henry the fourth. 74 
The Life ofl^ing Henry the Fift, ' '^./f^ 
The Firftpai t ofi^ing Henry the Sixt; ^ ^ 
The Second part of IQ?ig Hen. the Sixt. izp 
The Third part of i^ngVienry th£Six$;^:$^/j^t 
The Life o* Jkathof^j^iardih^^im 
TheLifiofiQngHeniytheEi^. iof 

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The Tragedy ofQa'iolanus^ 
Titi^ AndronicsiS, 
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Ttmon of Athens, .^, 



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COPYRIGHT 1916 '^■^ '\ 

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LESSU[\ i kf 
PLATE No. 3 O 



LESSON j 2 
PLATE No. I 



A. CATALOGUE 
Shakespeare Folio 1623 

ACATA LOGVE ofthe seuer allCo medie sHist ories andTr 
agedi escon taine dinth isVol umeCO MEDIE STHeT empes 
tFoli oThet woGen tleme nofVe ronaT heMer ryWiu esofW 
indso rMeas urefo rMeas ureTh eCome dyofE rrour sMuch 
adooa boutN othin gLoue sLabo urlos tMids ommer Night 
sDrea meThe Merch antof Venic eAsyo uLike itThe Tamin 
gofth eShre wAlli swell thatE ndswe UTwe IfeNi ghtor whaty 
ouwil ITheW inter sTale HISTO RIEST heLif eandD eatho 
fKing JohnF olThe Life& death ofRic hardt hesec ondTh eFirs 
tpart ofKin gHenr ythef ourth TheSe condp artof KHenr 
ythef ourth TheLi feofK ingHe nryth eFift TheFi rstpa rtofK 
ingHe nryth eSixt TheSe condp artof KingH enthe SixtT 
heThi rdpar tofKi ngHen rythe SixtT heLif e&Dea thofR ichar 
dtheT hirdT heLif eofKi ngHen rythe Eight TRAGE DIEST 
heTra gedyo fCori olanu sFolT itusA ndron icusR omeoa ndJul 
ietTi monof Athen sTheL ifean ddeat hofJu liusC aesar TheTr 
agedy ofMac bethT heTra gedyo fHaml etKin gLear Othel 
lothe Moore ofVen iceAn thony andCl eopat erCym belin 
eKing ofBri taine 



? Proof 



COfYHIOHT 
BY OEOnoe FABVAN 



V/E WANT THESE PLAtS AND OTHER WRITINGS BY THE SAME AUTHOR WHICH WERE CONCEALED BY HIM 

IN CIPHER THREE HUNDRED YEARS AGO 



THE CATALOGVE 

of the several Comedies, Histories, and 
IVagedies contained in the Cipher 


COMEDIES 


NOTABLE 
T R A N S L A IT O N S 

The Iliad {Homer) 

The Odyssey {Home7') 

The yEneid {Virgil) 

The Eclogues, and a few short 

poems {Virgil) 

MISCELLANEOUS 

The Life of 'Robert Greene 

Two Secret Epistles, expressly teach- 
ing a Cipher 

Completion of the New Atlantis 

A Tastoral of the Christ 

"Bacchantes, a fantasy 


Seven JVise Men of the West 
Solomon the Second 
The Mouse Trap 


HISTORIES 


The Life of Elizabeth 

Th e Life of th e Earl of Essex 

The White Rose of "Britain 

The Life and Death of Edward the 
Third 

The Life of Henty the Seventh 


TRAGEDIES 


Mary Queen of Scots 

'Robert, the Earl of Essex {my late 
brother) 

'Robert, the Earl of Leicester {my late 
fath er) 

The Life and Death of Christopher 
Marlowe 

Anne "Bullen 


History, in prose commixed with 
verse, of England and a few 
Englishmen. 

Story in verse of the Spanish Armada. 

Bacon's own story of his life, in which 
Marguerite de Valois figures. 

A number of short poems in French, 
written for Marguerite, form a 
part of the story of Bacon's life 
in France. 


THESE TITLES ARE FROM WORKS PUBLISHED IN THE XVIth AND XVIIth CENTURIES, 

DECIPHERED BY ELIZABETH WELLS GALLUP 



COPYRIGHTED, 1 9 1 6, GEORGE FABYAN 



? Proof 



"^^^^ ^^^ESE PLAYS WHICH WERE GIVEN TO THE WORLD THREE HUNDRED YEARS AGO 








3^ 










of the feiierall Comedies^ Hiftories, and Tra- 
gedies contained in this Volume, 






,r««».,„.^ 



COMEDIES. 



6i 



mfmBeT'empcfi. 

ofi^^S^^^^ ^Tyo Gentlemen of Verona. 2.0 

T/;^ Merry IViucs cflVindfor, ^ S 

Meafurefor Meajure. 

The Comedy ofErrours. 

Much adoo ahc'Ut 'Kothinz^ 

Loues Lahour lost, 

Midfommer Nights predmc. 

The Merchant of Venice, 

4s you Like it. 

The Taming of the Shrew. 

All is welly that Ends well, 

TwelfeMightjOrwhatyou will 

The Wif2ters Tale. 



lOI 
122 

2o2 
?o4 



HISTORIES. 



The Life andDeath of^ng John. Fol. i . 
The Ufe ^ death of "Richard thefecond. ^2 ^ 



I The Fiti/lpart ofI{j?i^ Hen'j the fowt'?. 46 

' 1 'i 'l^(^ Second part of K^Tjenry thr fourth. ' 74 

to JO I. i .--., ^ ' 

■ i /^r^ Li/f ofI\j.7ig Henry the Fifr. 69 

The Fir ft pet) t ofKjnj^ He my the Sixt. 96 i 
The Second part of I^jngHrn. theSixt. izo 
The Third part cfFvi^ Henry the Sixt. 1 47 
The Life <s^ Death of i(ichard the Third.ijT, 
The Life of F^tngEenry the Eight. 205 



TRAGEDIES. 



The Tragedy ofQoriolan lis. 

Tittis JjidronicHs^ 

^ilomeo and Juliets 

Timon of Athens. 

The Life and death QfJuUm Q&far, 

The Tra<:edy o^ Macbeth. 

The Tragedy of Hamlets 

L\ing Lear. 

OthellOythe Moore ofVenice, 

Anthony and Ql'eopater. 

Qmheline L(ing oj 'Britatm. 






Foil. 

2o 
109 

152 



PHOTOGR-APHED FROM THE ORIGINAL 1623"FOLTcrrHAKFSPE^ 
BOSTON PUBLIC LIBRARY EDITION 



' ? Priiaf 




It Couldn't Be Done 

Somebody said that it couldn't be done, 

But he with the chuckle replied; 
That "Maybe it couldn't," but he would be one 

Who wouldn't say so till he tried. 
So he buckled right in, with a trace of a grin 

On his face. If it worried, he hid it. 
He started to sing as he tackled the thing 

That couldn't be done — and he did it. 

Somebody scoffed: "Oh, you'll never do that. 

At least no one has ever done it;" 
But he took off his coat, and he took off his hat. 

And the first thing we knew he'd begun it. 
With a lift of his chin, and a bit of a grin. 

Without any doubting or quiddit. 
He started to sing as he tackled the thing 

That couldn't be done — and he did it. 

There are thousands who'll tell you it cannot be done. 

There are thousands who prophesy failure; 
There are thousands to point out to you, one by one. 

The dangers that wait to assail you. 
But just buckle in with a bit of a grin. 

Then take off your coat and go to it — 
Just start in to sing as you tackle the thing 

That "cannot be done" — and you'll do it. 

EDGAR A. GUEST 



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